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UNIVERSITY  OF  CALIFORNIA 
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UrMWI;RSITY  of  CALIFORNIA 

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ULETIDE 

ENTER1AINNENTS 


61.66     S 

r.S.DENIS0N6C0NPANY  Publisks CHICA6( 


penison's  Plays 

Cover  the  Field 


^4uLnclrecls  of 
'Z/ltleX  In 

tke/^e  Jeriex 


5end  for  Comple'e 

Descriphve 

Ca+alo^ue- 


T  S.Denison  &  Company  Publishers 

623   South  Wabajh  Ave.  CHICAGO 


YULETIDE 
ENTERTAINMENTS 

CHRISTMAS  RECITATIONS,  MONOLOGUES, 

DRILLS,  TABLEAUX,  MOTION  SONGS, 

EXERCISES,  DIALOGUES, 

AND  PLAYS 


SUITABLE  KOR  ALL  AGES 


BY 

ELLEN  M.  WILLARD 

AUTHOR  OF 

The  Favorite  Book  of  Drilh,"  "Fun  for  Little  Folks,"  "Utile 
Plays  ivith  Drills,"  and  "Pictured  Readings 
and  Tableaux" 


CHICAGO 

T.  S.  DENISON  &  COMPANY 

Publishers 


1 50RR^ 


COPYRIGHT,   1910,  BY  T.   S.  DENISON  &  COMPANY 


MADE  IN  U.   S.  A, 


•       •     r 


Yule  tide  En  tertainments 


X      .O    -^ 


YULETIDE   ENTERTAINMENTS  3 

•p/v 

4305 

CONTENTS  ^^^^ 

PART  I. 

Recitations,  Monologues,  Drills,  Marches  and 
Motion  Songs. 

Bell  Song,  The 24 

Christmas   Every   Day 7 

Cranberry  March  26 

Dance  of  the  Holly  and  Mistletoe 28 

Fred's  Christmas  Shopping 9 

Hollyberry  Drill  32 

In  Grandma's  Day 1 1 

Old  Aunt  Dinah's  Christmas 18 

Pickaninny's  Christmas,  The ^ .  •  34 

Pop-corn    Dance    ^^ 

Sleighbell   Drill,  The 41 

Too  Much  Christmas 20 

We  Know 20 

What  Counts • 21 

PART  II. 

Dialogues,  Exercises,  Musical  Pieces  and  Plays, 

All  the  Year  'Round 4S 

Boy's   Christmas,  A 49 

Christmas  Bargain,  A 51 

First  Christmas,  The 57 

King  of  the  Year,  The 61 

Mrs.  Randy's  Christmas •  72 

Ready  for  Santa  Claus 80 

Santa  Claus'  Garden 87 

Santa  Claus  in  Many  Lands 93 

Spirit  of  Christmas,  The = = 101 


The  songs  in  this  book  are  to  be  sung  to  old  airs  that 
are  presumably  familiar  to  everyone.  If  any  of  them 
should  prove  unfamiliar,  however,  the  music  will  be  found 
in  Denison's  "Songs  Worth  While,"  one  of  the  best  ar- 
ranged and  most  carefully  edited  collections  of  old  fa- 
vorites ever  published.  This  book  is  beautifully  printed 
on  non-glossy  paper,  measuring  10^4  by  7  inches,  and  is 
well  bound  in  a  stout  paper  cover  done  in  colors.  It  may 
be  obtained  from  the  publisher  for  the  price  of  $1.00, 
postpaid. 


YULETIDE   ENTERTAINMENTS 


INTRODUCTORY 


It  becomes  more  and  more  a  part  of  Christmas  gay- 
ety  to  present  the  legends,  or  the  spirit  of  it,  to  the  eye 
as  well  as  the  mind. 

For  this  purpose  the  following  pages  have  been  pre- 
pared in  play  and  pantomime,  songs  and  marches,  drills 
and  recitations. 

While  the  needs  of  adults  have  not  been  forgotten, 
those  of  the  children  have  been  most  largely  remem- 
bered, since  Christmas  is  pre-eminently  the  children's 
festival. 

A  word  to  those  who  take  charge  of  such  affairs 
may  not  be  amiss. 

Precision  of  movement  is  the  keynote  of  success  for 
everything  of  this  kind.  This  does  not  mean  stiffness, 
but  it  does  mean  exactitude  and  certainty.  Uncertain 
gestures  in  speaking;  scattered  attack  and  close  in 
singing ;  hesitation  in  acting ;  and,  more  than  all,  care- 
less motions  and  marching  in  the  drills  (corners  not 
formed  squarely,  motions  only  half  in  unison,  etc.)  — 
all  these  are  fatal  to  that  success  which  makes  such 
entertainments  entertaining. 

Here,  as  everywhere  else,  "What  is  worth  doing  at 
all,  is  worth  doing  well." 


YULETIDE 
ENTERTAINMENTS 


PART  I. 


Recitations,   Monologues,  Drills,   Marches 
and  Motion  Son^s 


CHRISTMAS  EVERY  DAY. 

Dear  little  Dorothy  Dill  Magee 

Had  a  very  beautiful  Christmas  tree; 

And  on  it  were  hung  the  loveliest  things, 

Dolls,  and  sashes,  and  gloves,  and  rings, 

Till  nothing  more,  you  would  have  thought, 

Could  possibly  have  been  wished  or  sought. 

But  little  Dorothy  Dill  Magee, 

Although  delighted  as  she  could  be, 

Began  to  sob,  to  sniffle  and  cry 

Because  the  day  was  so  near  passed  by. 

"I  wish  it  was  always  Christmas  Day," 

Little  Dorothy  Dill  was  heard  to  say. 

Then  what  did  round  old  Santa  do 

But  pop  right  in  through  the  chimney  ftue, 

And  say  to  Aliss  Dorothy  Dill  Magee 

"J"st  as  you  wish  I  will  make  it  be : 

And  I'll  tell  every  one  of  your  friends  and  mates 

That  Christmas,  to  you,  is  of  many  dates," 

So  Dorothy  Dill  forgot  to  cry, 

And  mourned  no  more  when  the  day  passed  by, 

But  went  to  bed  to  dream  of  all  things. 

From  dolls  to  fairies  with  gossamer  wings. 


8  VULETIDE  ENTERTAINMENTS. 

The  following  morning  stockings  hung 

By  the  side  of  her  bed,  and  toys  were  strung 

Beside  the  fire,  and  Dorothy  Dill 

Jumped  up  to  explore  with  a  right  good  will. 

She  had  so  many  nice  things  that  day 

That  she  could  do  nothing  but  play  and  play. 

But  when  night  came  with  its  Christmas  tree 

She  was  just  as  tired  as  she  could  be. 

She  scarcely  could  open  her  sleepy  eyes, 

And  didn't  see  half  of  her  rich  surprise. 

When  Dorothy  Dill  again  awoke 

The  bulging  stockings  were  like  a  joke, 

A  tiresome  joke,  and  Dorothy  sighed 

With  frowning  brow  at  the  gifts  at  her  side. 

She  looked  them  over  but  couldn't  play, 

And  turkey  and  pudding  at  dinner  that  day 

Weren't  good  at  all,  and  the  Christmas  tree 

That  night  was  horrid  as  it  could  be. 

The  troubles  that  followed  I  couldn't  rehearse. 

For  Dorothy's  Christmas  grew  worse  and  worse. 

She  had  so  many  sashes  and  rings. 

So  many  fine  dresses  and  all  such  things, 

That  closets  and  drawers  couldn't  hold  them  all ; 

She  flung  them  on  the  floor  of  the  hall, 

'T  hate  the  sight  of  them  all,"  quoth  she. 

And  as  for  the  turkey  and  Christmas  tree, — 

"They're  the  pest  of  my  life,"  Miss  Dorothy  cried, 

'T  dread  just  the  name  of  the  Christmas  tide." 

The  dolls  of  all  sizes  came  by  the  dozens 

From  uncles  and  aunts,  from  plajmiates  and  cousins. 

Little  dolls,  big  dolls,  china  and-  wax, 

With  dresses  of  reds  and  yellows  and  blacks. 

Under  the  tables,  and  chairs  and  bed. 

In  closets,  on  stairs,  those  dolls  were  spread. 

She  gave  them,  and  gave  them,  and  gave  them  away, 

And  not  with  any  of  them  could  she  play ; 

And  she  was  so  tired  of  the  Christmas  trees 

She  wished  they  were  covered  in  deepest  seas. 


1  ■  ULE  TIDE   EN  TER  TAIN  MEN  IS.  ^ 

And  as  to  the  letters  and  words  of  thanks, — 

They  crowded  before  her,  ranks  upon  ranks. 

And  begged  to  be  written  and  said  until 

They  seemed  her  whole  mind  to  crowd  and  fill. 

Now  wdiat  ]\Iiss  Dorothy  Dill  Magee 

Did  wath  her  every-day  Christmas  tree. 

And  her  every-day  turkey,  and  pudding  and  pie, 

I  never  have  heard ;  but  let's  you  and  I 

Be  just  as  thankful  as  we  can  be 

That  we  have  but  one  jolly  Christmas  tree. 


FRED'S  CHRISTMAS  SHOPPING. 

A  Monologue  for  a  Boy  of  Ten  or  Tzvelve  Years. 

Enters  Z'.'ith  arms  full  of  bundles;  begins  talking 
zvliile  lie  puts  them  dozen  on  the  fable. 

Fred.  Say !  But  this  Christmas  shopping  wears  on 
a  fellow !  How  in  thunder  the  girls  stand  it — shopping 
the  way  they  do — I  can't  see. 

If  I  had  all  the  money  in  creation  it  wouldn't  be 
much  better,  for  a  fellow  never  knows  what  to  get  for 
the  other  fellow,  you  see. 

There's  Sis,  now — big  Sis,  I  mean,  of  course — the 
little  ones  don't  count  much.  It  took  me  the  whole 
afternoon  to  think  of  something  for  her.  She's  got 
most  everything  that  counts  for  anything,  like  skates. 
All  the  fixings  girls  wear  she  don't  want,  of  course. 
She's  got  plenty  of  jewelry — I  did  think  some  of  a 
carnelian  rin.g  for  her — and  finally  I  thought  of  just 
the  thing.  (Tugs  at  a  big  candy  box  in  his  coat  pocket, 
holds  it  up.)  Candy!  Yes,  sir;  that's  one  thing  a  girl 
can  never  have  too  much  of.  And  I  got  it  all  in  lico- 
rice and  gum  drops,  good,  chewy  ones — and  "jaw- 
breakers"— kinds  that  will  last  a  while.  (A' ads  em- 
phatically.) 

There's  a  train  of  cars  for  little  Sis  (indicating 
packages  as  he  talks).  I  think  after  Christmas  I'll  build 


10  YULETIDE   ENTERTAINMENTS 

a  track  and  make  some  semaphores  and  switches — and 
a  bridge — and  a  station-house — all  for  those  cars. 
'Course  /  don't  care  for  cars,  but  I  think  it  would  be 
real  fun  to  fix  'em  all  up  for  little  Sis.  And  I'll  show 
her  how  to  run  'em,  too.  "Dolls,"  did  you  say?  Oh, 
pshaw !  She  don't  want  any  more  dolls.  Cars  are  lots 
better.  And  Baby — 'course  he  must  have  something, 
so  I  got  him  one  of  those  funny  faces  that  squeak. 
Say,  do  you  know,  I  laughed  till  I  was  tired  making 
that  go  through  its  performances.  Squints  one  eye 
(illiistyatin^s;),  you  know,  and  twists  its  mouth.  Why, 
you'd  laugh  yourself  to  see  it.  Guess  I'll  take  it  to 
school  and  show  the  boys  on  the  sly.  Won't  there 
be  a  rumpus,  though  ?   Gee ! 

I  couldn't  leave  out  Cook  Nora,  so  I  got  her  that 
(shozving  cookie  cutter).  Good  hint  for  some  cook- 
ies, /  think,  and  a  joke  into  the  bargain. 

And  here's  a  ball  for  Bill.  (Bounces  it.)  A  number 
one.    He  lost  mine  last  week.    Now  I  can  borrow  his. 

This  (u)izvrapping  a  gay  tissue  paper  parcel  and 
shozving  a  large  candy  heart)  is  for  Nellie — she'll  like 
it.  She's  pretty  nice — for  a  girl — and  she  thinks  I'm 
great ! 

And  here's  the  best  of  all.  (Shozvs  a  knife,  opening 
its  many  blades.)  And  wdio  do  you  guess  it's  for? 
Why,  Mother,  of  course.  I  always  give  her  a  knife 
every  Christmas.  I  always  lose  'em,  and  so  I  am  bound 
to  get  her  another,  you  know.  Now  that's  the  best 
one  I  ever  got  for  her — four  blades  and  a  corkscrew ! 
My !  But  .that'll  be  fun  ! 

And  Father — when  I  got  to  him  I  had  only  a  nickel 
left,  and  couldn't  think  of  a  thing,  so  I  finally  bought 
him  a  pipe.  {Shozvs  a  clay  pipe.)  I  know  he  don't 
use  that  kind,  but  I  thought  it  might  do  if  he  lost  the 
other.  I  only  had  a  nickel,  and  anyhow  it'll  be  just 
fine  for  soap  bubbles.  Oh,  Christmas  shopping  isn't 
so  bad,  after  all. 


YULETIDE   ENTERTAINMENTS.  11 

IN  GRANDMA'S  DAY. 
Illustrated  with  Eight  Tableaux.   Directions  at  Close. 

This  is  recited  by  the  "Grandma,"  zvho  sits  and  knits 
as  she  talks,  ivith  pauses  zvhcn  the  tableaux  are  shozvn. 
Slie  speaks  slowly^  in  a  reminsicent  way,  adapting  her 
actions  to  tlie  words. 

During  the  shozving  of  the  tableaux  she  leans  her 
head  on  her  hand,  or  looks  ahead  of  her,  not  at  them, 
as  if  dreamily  thinking  of  the  pictures  her  memory 
calls  up. 

It's  cold  today,  and  Christmas  time  is  getting  very 

near. 
I  wish  1  knew  just  what  to  do  to  help  the  season's 

cheer. 
Things  nowadays  have  grown  so  strange  that  I  am 

puzzled  quite. 
I   wonder  if  they  care  at  all  that  Christnias   comes 

tonight. 

Son  John  has  grown  so  gray  and  tired ;  he  used  to  beg 

to  hear 
The  Christmas  stories — he  and  Bess.   How  sweet  they 

were — and  dear ! 
(No.  1  Tableau — The  Stories.) 
I  told  them  of  the  blessed  Child  who  in  the  manger  lay. 
Without  these  stories,  so  he  said,  it  wasn't  Christmas 

day. 

But  now  his  children  do  not  care  to  have  these  stories 

told; 
They  go  to  Christmas  parties,  and  they,  too,  look  tired 

and  old. 
They  do  not  romp  and  jump  about  as  children  used 

to  do. 
They  dance  at  "balls,"  and  go  to  "clubs"  until  it  makes 

me  blue. 

(No.  2  Tableau — Children  at  Ball.) 


12  YULETIDE   ENTERTAINMENTS. 

The   Christmas   stockings   have  gone  out  of  present 
fashion   quite ; 

I  wonder  if  they  care  at  all  that  Christmas  comes 
tonight. 

Has  John  forgotten?   He  is  tired  and  worn  with  busi- 
ness cares — 

But  every  night  I  used  to  hear  the  children  say  their 
prayers. 
(No.  3  Double  Tableau — John  and  Prayers.) 

And  when  the  blessed  Christmas  Eve  came  with  its 

cold  and  snow, 
They  used  to  hang  their  stockings  round  the  fireplace 

in  a  row. 
What    fun    it    was !    How    happily    they   planned    for 

Christmas  Day ! 
How  hard  to  wait  for  morn  to  come  to  light  their 

merry  way. 

No.  4  Tableau — Children  zvith  Stockings.) 

His  children  now  are  grown-up  people,  proper,  most 

polite. 
They  never  hang  up  stockings,  that  is  nonsense  in  their 

sight. 
The  little  son  has  bank  notes,  and  the  girls  some  jewels 

gay; 
A  sober  "thank  you,"  or  a  frown  are  what  they  bring 

the  day. 

Paul  fills  his  time  with  wondering  why  mother  gave 

him  "that/' 
And  Helen  wishes  she  had  had  instead  "that  stunning 

hat." 
(No.  5  Tableau — Children  Discontented.) 

Oh,  deary  me !  How  sweet  'twould  be  to  have  them  at 

my  knee, 
A-listening  to  the  sweet  old  tales  that  mine  once  heard 

from  me. 


YULETIDE   ENTERTAINMENTS.  13 

Now  when  /  was  a  little  girl,  I  had  my  stockings  hung 
At  Christmas  Eve  beside  the  fire,  and  Christmas  songs 

were  sung. 
And  after  breakfast,  Christmas  Day,  to  church  we  all 

must  go 
And  hear  the  Christmas  sermon — it  was  rather  long,  I 

know. 

But  then,  I  always  liked  it,  because,  just  back  of  me, 
Sat  Philip  Deane,  and  he  and  I  were  dearest  chums, 

you  see ; 
And  after  church  we  walked  back  home  together,  he 

and  I. 
I  used  to  think  when  he  was  near  the  sermons  weren't 

so  dry, 
(No.  6  Tableau — Grandma  and  Philip.) 

Dear  Phil !  He  grew  so  tall  and  strong — the  hand- 
somest of  all. 

I  remember  how  he  danced  with  me  at  Susan  Elmer's 
ball. 

On  Christmas  was  our  wedding  day,  and  I  remember 
still 

Plow  Philip  bent  above  me  then — how  clear  his  words, 
"I  will." 
(No.  7  Tableau — Wedding.) 

And  every  Christmas  after  that  grew  fuller  of  earth's 

joys 
As  to  us  came  the  blessed  gifts  of  darling  girls  and 

boys. 
How  long  ago  it  seems — and  yet — I  always  hold  them 

dear, 
Those  memories  so  full  of  love  and  sweetest  Christmas 

cheer. 
(No.  8  Final  Tableau,) 


14 


VU  LET  J  DP.    EN  TER  TAIN  MEN  TS. 


DIRECTIONS. 

Characters — Seven  Children,  Five  Adults. 

Children — Two  Boys,  Three  Girls. 

Adults — Two  Males,  Three  Females. 

Group  No.  1  signifies  the  boy  and  girl  shown  in 
tableau  No.  1.  Their  costume  is  the  old-fashioned 
style. 

Group  No.  2  signifies  the  boy  and  girl  shown  in 
tableau  No.  2.    Their  costumes  are  modern. 

By  using-  these  two  groups  and  retaining  the  two 
styles  of  costume,  the  tableaux  are  much  simplified, 
as  group  No.  1  retains  the  original  costume,  only  put- 
ting a  night  dress  or  outdoor  garments  over  it  as  re- 
quired.   Group  No.  2  does  not  change. 

Fewer  can  be  used  if  necessary,  but  it  will  add 
greatly  to  the  ease  and  quickness  of  presenting  the 
tableaux  if  the  full  number  indicated  are  used.  By 
doing  this  very  few  changes  in  costume  are  required, 
and  the  characters,  being  all  dressed,  or  requiring  but 
little  change,  the  tableaux  can  be  quickly  arranged. 


A 

Bi 

A 

i 

7 
A 

A 

A 
3/? 

X 

Z 

r                 < 

-  D  ' 

c               c 

'<^ 

STAGE. 


A-A-A — Curtains  or  screens. 

B-B — Frames. 

C-C — Curtains. 

G — Grandma's  chair. 

X  and  Z — Platforms. 


YULETIDE   ENTERTAINMENTS. 


15 


One  frame  or  setting*  can  be  used  if  the  manag'er  has 
her  pictures  well  in  mind ;  but  as  the  illustrations  or 
tableaux  must  be   arranged   quickly   in  order  to  be 


F/g-.  /. 


^k^^^ 


n<s 


^/a.iyrt>rfn 


Fi^.  Z. 


sTjown  just  at  the  proper  moment,  it  will  be  easier  and 
wiser  to  have  two  frames  or  settings,  so  that  one  pic- 
ture can  be  placed  while  the  other  is  being  shown  to 
the  audience.  The  order  of  arrangement  following 
will  insure  the  best  results. 

These  settings  should  be  frames  of  light  timbers. 
See  Fig.  1.  The  inner  opening  is  seven  feet  high  by 
eight  feet  wide  and  the  outer  dimensions  two  feet 
wider.  This  frame  should  be  covered  with  a  black 
cloth  and  a  gray  gauze  stretched  across  the  opening. 
The  space  behind  the  frame  should  be  curtained  or 
screened  at  the  back  and  sides  with  black  or  dark  gray. 
Fig.  2.  The  floor  behind  the  frame  should  be  raised 
two  feet  in  order  to  bring  it  well  into  view  of  the  audi- 
ence, and  of  course  the  frame  must  correspond.  The 
pictures  are  arranged  between  the  frame  and  the 
screens. 

The  frame  and  gauze  can  be  omitted,  and  the  picture 
presented  in  the  space  surrounded  by  the  screens  or 
curtains;  but  of  course  the  best  way  is  the  one  indi- 
cated. 

With  all  accessories  ready,  and  some  previous  re- 
hearsals, these  tableaux  can  be  easily  and  rapidly  pre- 
sented. 

In  front  and  to  one  side  the  Grandma  sits  in  an  easy 
chair.    No  other  accessories.    The  tableaux  are  pre- 


16  YULETWE  ENTERTAINMENTS. 

sented  in  the  settings  described  above,  either  one  frame 
in  the  middle  of  the  stage  and  about  four  feet  back, 
or  two  frames  set  as  in  Fig-.  3. 

Tableau  1 — On    platform  X. 

Young"  mother  sitting,  facing  audience.  Plain,  dark 
dress,  kerchief  or  lace  crossed  over  bosom,  hair  in  low 
knot  at  back  of  neck  and  brushed  smoothly  over  the 
ears  in  the  manner  of  ante-bellum  days. 

Boy  of  eight  or  ten  stands  at  her  left,  his  arm  over 
her  shoulder,  her  left  arm  around  him.  He  is  dressed 
in  long,  narrow  trousers,  white  stockings  and  low  slip- 
pers, frilled  white  shirt  front,  short  jacket  (to  the  waist 
only),  v.'ide  collar  and  bow  tie. 

Girl  of  six  or  eight  sits  on  stool  or  low  chair,  leaning 
on  the  mother's  lap,  looking  in  the  mother's  face  as 
the  mother  looks  down  at  her.  Any  dress  with  short 
"baby"  waist  and  short  sleeves.  Hair  in  two  smooth 
braids  or  loose  curls. 

Tableau  2 — On  platform  Z. 

Boy  and  girl  from  eight  to  twelve  years  dressed  in 
extreme  of  modern  style  party  costumes.  He  has  her 
hand  held  high  and  they  are  in  the  attitude  of  some 
figure  of  the  Lancers.  Their  bearing  is  sober  and 
indifferent.   These  are  children  No.  2. 

TAnLi':AU  3 — • 

This  is  double  and  both  curtains  can  be  drawn  at 
the  same  time.  On  platform  Z  sits  "Son  John,"  a 
middle-aged  man,  gray,  well  dressed.  He  is  in  an 
ofifice  chair  or  an  arm  chair,  his  elbow  on  the  table,  his 
head  on  his  hand.  His  attitude  and  face  show  weari- 
ness as  he  sits  thinking. 

On  platform  X,  prepared  Avliilc  tableau  No.  2  is  being 
prepared  and  shown,  children  No.  1  kneel  at  the  same 
mother's  knee  in  prayer.  They  are  in  v/hite  night- 
gowns and  a  small  white  bed  is  back  of  them.  (This 
may  be  omitted.)  H  one  frame  only  is  used  divide  it 
by  a  movable  screen,  giving  the  single  figure  but  one- 
third  the  space. 


VULETJDE   ENTERTAINMENTS.  17 

Tableau  4 — Children  with  stockings.  Platform  X. 
The  back  of  the  space  represents  a  fireplace.  Painted 
scenery  can  be  used,  or  a  framework  to  indicate  it, 
with  andirons  in  the  fireplace.  No  fire  needed.  Two 
bulging  stockings  hang  by  the  fireplace;  one  is  small 
and  has  a  doll  showing  in  the  top  of  it,  and  a  very 
small  child  in  nightdress  is  reaching  up  her  arms  to 
the  doll. 

The  other  girl  in  nightdress  is  sitting  on  the  floor 
examining  the  contents  of  her  stocking,  with  toys 
lying  around  her. 

The  boy,  dressed  as  in  tableau  No.  1,  is  astride  a 
rocking-horse  in  attitude  of  driving;  or  he  is  blowing 
a  trumpet  with  one  hand,  while  he  drums  with  the 
other  on  a  drum  which  is  hung  around  his  neck. 
Tableau  5 — Platform  Z.  Group  No.  2. 
Same  costume  as  before.  They  sit  facing  each 
other  (not  too  near).  The  boy  has  one  hand  in  his 
pocket,  leans  lazily  back  in  his  chair  and  looks  crossly 
at  an  open  pocketbook  held  in  the  other  hand. 

The  girl  wears  much  jewelry  and  has  an  open  jewel 
case  in  one  hand  and  a  watch  and  chain  in  the  other, 
at  which  she  looks  scowlingly. 

Tableau  6 — Platform  Z.  Group  No.  1. 
Dress  as  in  tableau  No.  1,  but  with  the  addition  of  oul- 
door  garments.  These  should  be  of  the  "Kate  Green- 
away  type,  pictures  of  which  can  be  seen  in  children's 
books.  They  walk  side  by  side,  her  hand  in  her  muff, 
he  holding  out  to  her  a  candy  heart.  They  are  smiling 
shyly  at  each  other. 

Tableau  7 — Platform  X. 

Wedding  scene.  Parson  (who  may  be  same  one  who 
personated  "Jo^^^"^"  "^  tableau  No.  3)  is  Episcopalian 
gown  and  bands,  holding  a  prayer-book  and  looking 
at  the  couple  before  him.  He  stands  at  one  side  of  the 
frame  and  close  to  it,  slightly  turned  away  from  the 
audience,  so  that  the  bridal  couple  may  partly  face  the 
audience. 


18  VULETIDE   ENTERTAINMENTS. 

The  groom  is  tall  and  handsome,  dressed  m  Colo- 
nial style,  with  white  stockings,  low  buckled  shoes, 
white  satin  knee  breeches,  long  vest  and  long-skirted 
coat  (color  to  choice),  with  wide  lace  ruffles  at  wrists 
and  down  the  shirt  front.  He  wears  his  hair  long, 
powdered  and  tied  behind  with  a  black  ribbon. 

The  bride  is  small  and  slender,  dressed  in  full  Colo- 
nial costume,  with  veil.  etc.  She  either  looks  down  or 
smiles  up  at  him. 

Tableau  No.  8 — 

This  is  a  double  tableau,  both  platforms  and  cur- 
tains being-  used,  and  both  pictures  being  shown  at 
once. 

On  platform  Z  "Son  John"  stands  just  behind  his 
children  (group  No.  2)  and  all  look  imploringly  at 
Grandma  and  hold  out  their  arms  to  her. 

On  platform  X  the  bride  and  groom  stand  back  at 
one  side,  his  arm  around  her,  both  smiling  at  Grandma. 
A  double  gauze  should  hang  before  them  inside  the 
frame,  so  that  they  are  but  dimly  seen. 

Group  No.  1  stand  together  at  the  right  front  of 
the  space  and  both  reach  their  arms  to  Grandma  as 
they  smile  at  her. 

CURTAIN. 


OLD  AUNT  DINAH'S  CHRISTMAS. 

A  MONOLOGUE. 

Go  way  fum  hyar,  chile !  How  you  s'pose  I  gwine 
git  ready  fer  Sandy  Claws  ter  come  if  you  chillun 
keeps  a-hangin'  eroun'  ? 

Doos  Sandy  Claws  bring  dem  Chris'mus  gif's?  Sho 
he  do.   Does  /  put  gif's  inter  dem  stockin's,  too? 

Laws!  Yo'  jes'  talkin'  foolishness.  How  Sandy 
Claws  gwine  fill  yer  stockin's  ef  dar  ain't  no  stockin's 
dar  I  like  ter  know  ?  An  ain't  I  de  one  dat  mends  'em  ? 
Co'se  I  hangs  up  de  stockin's.   Yer  kaint  'spect  Sandy 


VULETIDE   ENTERTAINMENTS.  19 

Claws  ter  tote  a  passel  ob  stockin's  'roun'  wid  him. 
Don't  he  be  good  'nuff  ter  put  tings  in  'em  I  lak  tev 
know? 

You  Pete!  Ef  yer  opens  dat  ar  drawer  yer  gwine 
cotch  it  sho'! 

What's  in  dar?  Dat's  fer  me  ter  know  an'  you  ter 
guess,  mo'  'special  jes'  eroun'  Chris'mus. 

Why  kaint  yer  see?  What's  dat?  Ef  Sandy  Claws 
brungs  de  gif's  huccome  I  wants  ter  hide  anyt'ing? 
See  yhar,  chile !  Some  dese  days  yo  haid  gwine  ter  bus' 
clar  open  wid  its  sma'tness.  Oh,  go  'long  off  an'  'muse 
yerse'f.  Yer  tongue  hung  in  de  middle  an'  wags  hese'f 
all  ways  ter  wunst. 

'Lisbeth  Maude !  Leave  my  wu'k  basket  'lone,  will 
yer  ?  Yo  tink  dat  look  lak  er  doll  dress,  hey  ? 

Yo'  jes'  better  onhook  dem  eyes  ob  yourn  f'um  whar 
dey  don't  b'long. 

Ya-as,  Dis  Chris'mus  Eve,  sho'.  Ya-as,  Sandy 
Claws  gwine  come  yere  ef  yer's  good.  He  ain'  gwine 
come  whar  de  chilluns  is  bad  an'  don'  min'  dey  ma, 
an'  axes  er  lot  ob  fool  questions. 

Ma'y  Bell !  Quit  teasin'  dat  baby !  Ain't  yer  'shame 
yerse'f?  Yo  'spec'  Sandy  Claws  gwine  brung  anyt'ing 
to  a  leetle  gal  what — Abram  Lincoln!  Git  outen  dat 
cupboard !  Quick,  I  say !  My  Ian' !  Ef  I  jes'  kin  git  er 
holt  er  yo'  fer  five  minutes  I'm  gwine  mek  yer  dance! 
Yas  sar !  Yer  better  cla'r  outen  yhar  I 

Genevieve  Blanch !  Come  yhar  an'  wit  dese  chilluns 
an'  chuck  'em  in  baid !  Fs  plumb  wore  out,  an'  ef  dey 
axes  any  nio'  ob  dere  fool  questions  I  gwine  ter 
ex — r-lode!  An'  den  whar'll  Chris'mus  be  at? 


20  YULETIDH   ENTERTAINMENTS. 


TOO  MUCH  CHRISTMAS. 

Christmas  every  day !  Oh,  what  fun  'twould  be. 
With  all  the  gifts  and  all  the  fun  and  jolly  Christmas 

tree! 
And  yet,  I'm  not  quite  sure,  we  might  get  tired  enough 
Of  fancy  things  and  fol-de-rols  and  all  the  Christmas 

stuff 
If  it  should  come  so  often ;  and  so,  perhaps,  it's  true 
To  keep  it  just  the  way  it  is  I  think  is  best,  don't  you? 

Christmas  every  day!  One  thing  I  can  see 

That  all  the  gifts  and  all  the  sports  and  jolly  Christmas 

tree 
Can't   mal:e   us   glad    if   we   are   bad   and   selfish   and 

unkind. 
Perhaps  one  way  to  make  each  day  like  Christmas  we 

may  find 
Is  just  to  feci  like  Christmas  toward  each  one  that  we 

may  see, 
And  make  it  happy,  like  that  day,  wherever  we  may  be. 


WE  KNOW. 
Recitation  for  Two  Very  Little  Children. 
We  are  just  two  little  children, 
Too  small  to  work  or  sew, 
But  we  know  when  it's  Christmas, 
And  what  it's  for  we  know. 

And  we  know  what  we're  good  for; 
It's  just  to  grow  and  grow, 
And  be  two  little  children 
For  you  to  love  and  know. 

So,  Santa,  dear  old  Santa, 
Please  come  here  soon,  for  oh  I 
We're  waiting  and  we're  waiting 
Because  we  love  you  so. 


YULETIDE   ENTERTAINMENTS.  21 

WHAT  COUNTS. 

A    MONOLOGUE. 

Betty  Hollow  ay  is  o  girl  ten  years  old,  and  her 
mother  is  a  zcidozv  with  a  large  family  zuhom  she  sup- 
ports by  making  buttonholes.  They  are  very  poor,  and 
Christmas  is  coming. 

Betty   (speaks). 

Yes,  Christmis  is  a-comin',  and  I  feel  worser  and 
worser  the  more  it  keeps  a-comin'. 

Ma  an'  me  we  had  all  sorts  of  fun  planned  out,  'coz 
I've  been  helpin'  much  as  I  could,  and  we've  been 
savin'  up  for  Christmis. 

Then  what  did  Buddy  do  but  go  an'  break  his  arm, 
and  that  cost  lots.  (Sighing.)  Yes — I  know — the  doc- 
tor didn't  charge  nuthin',  but  the  drug  store  man  did, 
'coz  Buddy  had  fever  and  had  to  have  medicine  to 
stop  it. 

And  Benny  (that's  Buddy's  twin),  he  wasn't  goin' 
to  be  left  behind,  so  he  broke  a  winder  playin'  ball,  and 
ma  paid  for  it.  And  it  was  hard  work  to  keep  'em 
from  fightin' ;  'coz  Bud  he  said  a  broke  arm  was  worst, 
and  Ben  he  would  have  it  a  broke  winder  was  worst — 
cost  as  much,  anyhow. 

(Suddenly.)  Betty  Holloway !  What  you  v.'hinin' 
about?  Cryin'  'fore  you're  hurt,  are  you?  (Scorn- 
fully.) Didn't  know  you  was  that  kind.  What  did 
ma  tell  you  the  other  day? 

"  'Taint  what  comes  to  us,  Betty,"  she  said,  'Tt's  how 
we  take  it  Avhen  it  comes  that  counts,"  she  said.  "We 
can't  sit  down  and  cry,  not  one  of  us ;  we've  all  got 
to  count  for  something.  All  of  us."  My !  When  ma 
talks  like  that,  with  her  eyes  shin  in'  and  her  lips 
smiley,  it  makes  me  think  of  the  band  goin'  by ;  you 
can't  help  marchin'  in  time  and  walkin'  straight,  and 
you  feel  like  you  could  tackle  anything. 

Well,   sir,   I'm   goin'  to  tackle   Christmis,   and   I'll 


22  YULETJDE   ENTERTAINMENTS. 

make  it  count,  now  you  see.  With  all  these  children 
on  our  hands  ma  'n'  me  has  to  hustle,  but  we'll  never 
let  Christmis  go  and  nothin'  doin'. 

Now,  le's  see.  "When  you  ain't  got  money  you  got 
to  make  your  know-how  and  your  hands  do  instead." 
ma  says.  That's  true  this  time  if  it  never  was  before. 
(Looks  at  her  hands.)  Ten  fingers — and  that's  all. 
(Shakes  head  donblfnlly,  then  cheerily  says:)  Ho,  you 
Betty !  Where's  your  know-how  ?  Stir  that  up  a  bit 
and  get  to  work.  Well — first  of  all  there's  the  twins. 
They're  always  playin'  store.  I'll  make  'em  a  store. 
I've  got  a  box  the  grocer  gave  me  yesterday,  and  that 
shall  have  shelves  in  it,  and  a  counter ;  and  I  know 
where  to  get  some  little  bottles,  and  I've  got  two 
cardboard  boxes,  big  ones,  and  I'll  make  no  end  of 
things  out  of  'em — little  boxes  and  scales,  and  siigar- 
scoop — 'n'  lots  of  things.  Sand  shall  be  sugar,  and 
plenty  of  things  will  do  for  spice  and  coffee,  and 
such.  Oh,  you'll  see !  It'll  be  a  nilligant  store.  I  don't 
b'lieve  that  one  in  the  toy  store  is  much  nicer.  And  I 
can  make  paper  bags,  and — oh,  what  fun !  And  zvon't 
they  be  tickled ! 

Then,  besides  the  store  I'll  make  'em  some  paper 
soldier  caps.  Ma  gave  me  some  be-u-tiful  paper  last 
week ;  it  came  around  a  bundle  of  work.  And  some 
badges — I've  got  some  silver  paper  that  come  'round 
some  chocolate  once — I  found  it ;  it'll  make  beauty 
badges.  Oh,  I  tell  you !  They'll  be  so  fine  they  can 
hardly  step.  Stripes  down  their  trousers,  too.  Why. 
I  couldn't  get  'em  anything  that  would  tickle  'em 
more  if  I  had  a  whole  bag  of  money.  And  this  won't 
cost  a  cent. 

Then  there's  Jennie  and  Bess.  They're  not  twins, 
but  they  might  just  as  well  be.  They're  just  of  a  size, 
if  one  is  older  'n  the  other,  and  they  look  just  alike, 
and  they  w^ant  to  do  the  same  things. 

'Course  it's  dolls  for  them.  I  had  meant  to  get  'em 
some  of  those  dear  little  ones  w^ith  real  hair,  and  arm.« 


YULETIDE   ENTERTAINMENTS.  23 

and  legs  that  move.  Oh,  dear!  (Sighs.  Then,  straight- 
ening up.)  Keep  your  whinin'  in  your  pocket,  Betty. 
I've  "told  you  that  before.  I'm  makin'  this  Christmis 
count  for  a  good  time,  and  whinin'  isn't  part  of  a 
good  time ;  so  keep  it  still,  I  say. 

Well — about  the  dolls — let's  see.  Oh,  /  know.  I'll 
make  'em  a  playhouse.  I've  got  lots  and  lots  of  card- 
board spool  boxes,  and  you'd  be  s'prised  to  see  what 
dandy  things  they  make;  beds,  and  chairs,  and  sofys 
— why.  I  can  make  everything  a  doll  house  could 
want.  Dolls  will  have  to  be  rag  ones'  of  course,  which 
isn't  so  very  stylish;  but  then!  The  house  will  be  so 
fine  they'll  hardly  notice  the  dolls,  I  guess.  So  that 
settles  it  for  the  girls. 

Then  there's  the  baby.  He's  most  three  and  such 
a  dear!  But  sakes  alive!  He's  easy.  Why,  a  little  box 
with  a  string  to  it  makes  a  fine  wagon.  And  I  can 
make  him  a  nilligant  ball  out  o'  bright  pieces.  And  I'll 
ask  Mr.  Sweeny'if  I  may  go  into  his  planing  mill  and 
pick  up  some  little  blocks;  there's  all  sorts  of  cute- 
shaped  ones  there.    Oh,  baby'll  be  happy. 

Now,  I  haven't  got  a  tree,  and  I  can't  get  one — 
there's  no  use  talking  about  it — but  I  can  get  a  couple 
or  so  of  barrel  hoops  and  trim  'em  up  with  paper 
fringe  and  things,  and  tie  the  little  things  to  'em. 
They'll  look  real  Christmis-y  hung  up  on  the  wall,  and 
the  store  and  playhouse  can  be  underneath.  And  I've 
got  a  red  bell  I  saved  from  last  year.  I  can  make  it 
real  pretty !  And  as  to  candy  and  such,  the  youngsters 
may  get  some  at  the  Sunday  School,  and  I'll  coax  'em 
to  let  me  save  it  for  'em,  and  I'll  trim  things  up  with  it. 

And  ma  (stops  and  looks  troubled).  Ma  must  have 
something,  she's  so  good.  Why — sir !  My  mother  is  as 
brave  as  ever  a  soldier  was !  Talk  about  battles !  If  my 
mother  doesn't  have  as  hard  things  to  do  as  if  it  was 
battles  I  would  just  like  to  know.  She  deserves  Christ- 
mis  more  'n  any  of  'em.  But,  oh,  dear !  What?  Well, 
I  know  how  to  make  a  dear  little  paper-fold  tray  for 


24  YU  LET  IDE   ENTERTAINMENTS. 

pins,  and  I'll  make  a  big  bunch  of  twisted  tapers; 
they're  awful  handy,  and  they  save  matches,  you 
know.  And — le's  see.  Yes,  I'll  make  a  whole  bunch 
of  paper  flowers.  Hooray !  That's  a  great  idea.  They 
won't  fade,  and  they'll  stay  pretty  better  'n  the  real 
ones.  Oh,  goody,  goody!  Won't  we  have  a  lovely 
Christmis  ? 

]\Iother's  right.  She  always  is.  "  'Taint  what  comes 
to  us,  it's  how  we  take  it  that  counts." 

I  thought  at  first  we  couldn't  have  any  Christmis, 
and  here  we're  going  to  have  a  ])refectly  lovely  one. 

Me?  Presents  for  mcf  Oh,  /  don't  need  presents. 
I'm  going  to  have  all  the  fun  of  makin'  'em  and  some 
more  fun  seein'  the  others  have  'em.  And  \\hen  my 
mother  looks  at  me  with  that  shine  in  her  eyes  and 
says.  "Betty,  you're  my  comfort,"  the  way  she  does, 
do  you  s'pose  there's  any  gift  in  the  whole  world  could 
make  me  feel  so  glad? 

Oh,  Chrism  is  is  great,  all  right,  but  a  mother  like 
my  mother — what  counts — beats  all  your  Christmises 
holler.    Merry  Christmis ! 


THE  BELL  SONG. 

Chorus  for  Thirteen  Children. 

They  may  be  all  boys,  all  girls  or  both  together,  and 
there  may  be  as  many  additional  as  desired. 

SONG. 

Tune:    "Ji)igle  Bells." 

Hear  the  Christmas  bells  as  they  gayly  ring. 
And  our  voices  join  as  merrily  we  sing. 
All  the  world  is  glad,  hearts  with  joy  are  light, 
For  'tis  the  best  of  all  the  year  and  Christmas  comes 
tonight. 

CHORUS. 

Merry  bells,  merry  bells,  ring,  oh,  ring  today. 
Oh,  how  happil}-  we  sing,  for  joy  is  on  the  way. 


VULETIDE  ENTERTAINMENTS.  25 

Christmas  bells,  Christmas  bells  ring  your  music  sweei, 
While  our  hearts  keep  merry  time  to  children's  danc- 
ing feet. 

Tender  are  our  thoughts,  tears  we  bid  depart, 
Happiness  we  long  to  bring  to  every  saddened  heart. 
Join  us  as  we  sing,  banish  every  tear, 
Christmas  is  the  dearest  time  that  comes  in  all  the  year. 

CHORUS. 

Pain  is  banished  quite,  sorrow  goes  away, 

Anger  dares  not  show  his  head  on  this  glad  Christmas 

Day. 
Peace  o'er  all  the  earth,  good  will  to  all  men, 
Is  the  song  the  angels  sang,  we  sing  it  here  again. 

CHORUS. 
DIRECTIONS. 

The  leader  should  be  older  than  the  others  if  small 
children  are  chosen.  Pie  carries  a  triangle,  the  others  an 
inch  wide  red  ribbon  tvv'o  feet  long,  with  six  small 
sleighbells  sewed  on  each  ribbon.  Be  sure  and  have 
the  bells  small,  as  otherwise  the  number  of  them  makes 
their  accompaniment  too  loud. 

These  ribbons  are  held  by  the  ends  with  both  hands. 

COSTUMES. 

No  elaborate  costumes  are  required,  but  as  some  uni- 
formity of  dress  is  always  effective,  white  dresses  with 
red  ribbons,  for  the  girls,  and  dark  suits  with  holly 
berries  or  knots  of  red  ribbon  in  the  coat  lapel  for  the 
boys,  would  add  nuich  to  the  effect. 

Or,  all  might  dress  in  outdoor  costume  with  fur 
caps,  mittens,  etc. 

MARCH. 

Enter  at  rear,  center  or  either  side. 

1.  March  in  single  file  all  around  the  stage  during 
the  first  stanza.  Let  all  shake  the  bells  once  on  the  first 
beat  of  each  measure  as  they  march. 


26  YULETIDE  ENTERTAINMENTS. 

2.  During  chorus  let  the  leader  strike  his  triangle 
on  the  first  beat  of  each  measure.  One-half  of  the 
other  shake  the  bells  once  on  first  beat,  and  the  other 
half  on  the  third  beat  of  each  measure.  At  the  word 
"way"  (which  is  slurred  through  a  whole  measure) 
the  leader  strikes  his  triangle  once  for  each  beat,  thus 
making  four  strokes ;  and  at  the  word  "children's 
dancing  feet"  he  does  the  same,  and  all  shake  or  tinkle 
their  bells  through  the  last  two  measures.  During  the 
chorus  the  children  halt  and  face  front,  while  they 
keep  time  to  the  music  as  they  sing. 

3.  At  second  stanza  step  backward  diagonally,  first 
with  right  foot,  then  with  left  foot  on  alternate  beats 
of  the  music,  at  the  same  time  swing  the  body  and  the 
bells  in  the  direction  the  steps  are  taken.  The  leader 
stands  before  the  line,  facing  the  audience,  and  steps 
as  the  others  do,  waving  his  triangle  to  right  or  left, 
but  not  striking  it. 

At  chorus  the  line  halts  and  keeps  time  with  the 
music  as  before. 

4.  At  the  third  stanza  the  line  advances  to  the  front 
with  the  same  step  and  motions  as  during  the  second 
stanza,  only  in  a  forward  direction. 

Chorus  as  before. 


CRANBERRY  MARCH. 

For  Sixteen  Children,  Boys  or  Girls,  or  Both. 

Costume  all  of  scarlet,  the  boys  in  blouse  zvaists,  and 
knickerbockers,  the  girls'  dresses  with  long  or  short 
sleeves  as  desired.  All  ivear  scarlet  stockings  and  slip- 
pers and  pointed  scarlet  caps. 

SONG. 

Tune:    "The  Drum-Major  of  Schneider's  Band." 

When  the  Christmas  time  is  here  with  all  its  cheer  and 

frolic  dear, 
Then  we  come  to  help  the  fun  at  merry  Christmas  time. 


YULETIDE   ENTERTAINMENTS.  27 

Other  things  may  welcome  be,  but  only  we  can  bring 

such  glee, 
Nothing  else  can  fill  the  place  of  ripe  red  cranberries 
Christmas  !  Oh,  jolly  Christmas  ! 
We  come  to  you  in  Christmas  pieiw 
So  fine  the  stringing, 
Our  gay  beads  bringing, 
Each  child  is  singing 
Of  cranberries. 

And  on  the  Christmas  tree  we  glow, 

In  festoons  gay  we  grow. 
In  every  part  of  Christmas  time  we  share, 
We  help  to  drive  away  all  pain  and  care, 
For  we  grace  the  glorious  Christmas  tree. 
Pies  and  tarts  we  fill  right  juicily. 

Yes,  with  the  Christmas  light 

We  gleam  like  blossoms  bright. 
And  on  the  Christmas  tree  is  gay  red  cranberry 

A-shining  and  a-twining  on  the  tree. 

DIRECTIONS   FOR   MARCH. 

1.  Enter  at  left  rear  in  couples — march  across  rear. 

2.  Front  face — march  to  front  of  stage  in  two  rows. 

3.  Retreat  to  rear  in  same  order. 

4.  Left  face — march  to  rear  right  corner,  turn  to 
right,  march  diagonally  to  left  front  corner,  in  single 
file,  alternating  from  each  row  in  turn. 

5.  Turn  to  left — march  across  front  of  stage,  chang- 
ing at  the  turn  to  couples. 

6.  Retreat  to  rear  in  same  order. 

7.  March  to  front  of  stage. 

8.  Divide — four  couples  at  each  side  swing  back  to 
sides,  the  right  and  left  end  couples  serving  as  pivots. 

9.  Both  sides  march  to  center — when  they  meet,  halt ; 
mark  time  vigorously. 

10.  Retreat  to  sides. 

11.  Swing  to  front. 


28  VULHTIDE   ENTERTAINMENTS. 

12.  Separate,  facing  right  and  left,  march  in  couples 
to  sides,  take  single  file,  march  to  rear,  across  rear  to 
rear  center. 

13.  iVs  they  meet  at  center  each  faces  front  and  the 
lines  march  down  center  to  front  of  stage;  repeat  12 
and  13,  then  march  in  couples  around  the  stage. 

14.  As  the  couples  reach  the  rear  center  they  march 
in  single  file  until  a  ring  is  formed,  and  when  the  end 
of  the  stanza  is  reached  all,  as  suddenly  as  possible, 
step  into  the  circle  and  stoop  down  in  a  solid,  circular 
figure,  thus  forming  the  "pie."  Remain  still  until  the 
curtain  is  drawn. 


DANCE  OF  THE  HOLLY  AND  MISTLETOE. 

For  Eight  Young  Girls,  or  the  Number  May  Be 

.Doubled, 

Costumes  at  close, 

DANCE. 

Music:  Walts  with  marked  accent,  moderate  tempo. 
C  means  center ;  F  means  front ;  wreaths  position 
means  wreaths  held  low  in  front,  one  hand  at  either 
end  of  wreath.  The  number  of  measure  given  to  each 
figure  must  be  determined  by  the  music  and  its  phrases, 
— >- 


i 


1 


L  Enter  in  couples  at  rear,  wreaths  in  position,  waltz 
step.  Sway  wreaths  from  side  to  side  in  unison  with 
the  step.  Dance  to  center,  turn  to  front ;  there  separate 
to  right  and  left.    Fig.  1. 


YULETIDE   ENTERTAINMENTS.  29 

2.  When  in  a  line  across  the  front  of  the  stage,  halt, 
front  face,  salaam.  This  last  is  a  bow,  bending-  from 
the  waist  forward,  the  wreath  held  low  with  both  hands. 

3.  To  position,  ends  of  line  retreat  to  form  a  circle, 
facing  outward.  Wreath  in  both  hands  behind  the 
head.   Fig.  2. 

4.  Right  face — wreath  overhead — dance  in  a  circle, 
swaying  the  body  and  wreath  alternately  to  right  and 
left.  (This  swaying  body  means  bending  from  the 
waist  to  one  side  or  the  other.) 

5.  Circle  faces  in.  Wreath  in  right  hand  and  high 
so  that  the  ends  of  all  wreaths  touch  in  center.  Left 
hands  on  neighbor's  shoulder.  Dance,  without  leaving 
place,  toward  the  center  and  back,  through  one  or  more 
measures. 

6.  Break  line  on  side  toward  audience,  retreat  to 
rear,  wreaths  position. 

7.  Dance  forward  in  even  line  to  front,  wreath  back 
of  the  head. 

8.  At  front  the  odd  numbers  kneel,  wreaths  back  of 
the  head ;  the  even  numbers  dance  around  the  others 
twice.  Fig.  3,  sv/aying  wreaths  over  their  heads  from 

/'-^"'"^    ^^-->x    ..'---^  X'""'"^^ 

side  to  side.   Let  this  swaying  be  done  in  unison  by  all 
dancing. 

9.  Those  kneeling  rise ;  all  dance  backward  to  the 
rear,  swaying  wreaths  right  and  left  with  the  step. 

10.  The  even  numbers  now  form  a  line  from  R,  to 
F.  down  the  center.  In  this  way  No.  2  dances  in  front 
of  the  line  to  R.  center,  then  down  middle  of  stage  to 
positions  indicated  in  Fig.  4.  Number  4  follows  her, 
and  6  and  8  do  the  same.    These  sway  their  wreaths 


90 


YULETIDR   ENTERTAINMENTS. 


overhead  alternately  with  the  odd  numbers,  who  dance 
in  serpentine  around  them,  swaying-  their  wreaths 
overhead.  This  serpentine  is  led  by  No.  1,  who  dances 
to  the  rear  center,  then,  passing  to  the  right  of  No.  8, 
begins  the  serpentine  as  shown  by  Fig  4    When  No.  1 


f  i'l  FT-g.^-.  1 


+  <^ 


ii 


8 


/-'" 


G 


\    ^''S^-    /f 


\ 


t 


i 


"->^ 


8% 


6% 


h 


J2^  >h<^ 


-^ 


t 


passes  to  tiie  right  of  No.  8,  No.  5  passes  to  her  left. 
They  cross  between  8  and  6  and  are  followed  by  3  and 
7,  and  the  serpentine  is  .continued  around  4  and  2. 
This  is  continued  until  the  odd  numbers  have  reached 
the  front,  gone  back  to  the  rear,  passed  around  No.  8 
and  danced  again  to  the  front. 

"Vyhen  No.  1  has  completed  this  figure  she  dances 
again  around  No.  2,  then  in  a  straight  line,  and  close 
to  the  standing  numbers,  back  to  the  rear,  and  to  her 
position.  No.  3  follows  her.  Nos.  5  and  7  turn  at  the 
left  of  No.  2  without  going  around  her,  and  also  dance 
in  a  straight  line  to  the  rear,  and  to  their  places. 


YULETIDE   ENTERTAINMENTS.  31 

11.  Line  across  rear;  wreath  in  position. 

12.  Odd  numbers  stand,  wreaths  held  behind  head. 
Even  numbers  right  face,  sway  wreaths  before  them, 
dance  twice  around  those  standing. 

13.  Couples  link  arms,  hold  wreaths  overhead  to 
form  an  arch,  waltz  in  this  way  to  front,  and  back  to  a 
line  midway  of  the  stage. 

14.  Two  couples  on  either  side  form  cross,  Fig.  6, 
crossing  hands  in  center,  holding  wreaths  over  shoul- 

2  f 

+  + 


^^    ^^'g  ^        ^8 


ders  with  free  hand.  Those  at  right  of  stage  cross  right 
hands  and  dance  to  right;  the  others  the  reverse. 

15.  Break  circles,  retreat  to  rear,  wreaths  position. 

16.  Repeat  No.  8. 

17.  Repeat  No.  10,  except  that  as  numbers  1  and  5 
reach  the  rear,  they  stand  facing  each  other  and  hold 
their  wreaths  high  to  form  an  arch  between  them. 
Nos.  3  and  7  dance  behind  them,  pass  under  the  arch, 
then  stop  to  either  side  and  make  an  arch  with  their 
wreaths. 

So,  in  turn,  do  the  others.  Then  1  and  5  lower  their 
wreaths,  dance  under  the  arch,  and  again  stand  and 
help  form  the  arch,  until  the  front  of  the  stage  is 
reached.  Here  the  dancers  pass  to  right  and  left  and 
dance  back  to  the  exit,  and  out,  swaying  wreaths  over- 
head. 

DIRECTIONS. 

Let  the  alternate  numbers  represent  holly  and  mis- 
tletoe. All  wear  dresses  of  soft  material  (cheesecloth 
or  silkaline),  falling  full  from  a  yoke  to  the  ankles. 
Bare  neck  and  arms  are  prettiest  with  this  costume. 


32  YULETIDE   ENTERTAINMENTS. 

but  if  not  desired  have  plain  sleeves  to  the  elbow, 
finished  with  a  six-inch  frill  of  the  same,  and  the  neck 
finished  without  a  collar. 

The  holly  girls  should  be  brunettes  and  wear  dresses 
of  bright  green,  as  near  the  color  of  the  holly  leaf  as 
can  be  had,  with  a  sash  of  scarlet  ribbon  about  three 
inches  wide  tied  and  fastened  there,  high  under  the 
arms,  "empire"  style,  with  long  loops  and  ends  tied  in 
front.  A  narrow  scarlet  ribbon  should  be  tied  with 
loops  and  short  ends  around  the  sleeve  just  above  the 
elbow.  A  wreath  of  holly  leaves  and  the  bright  ber- 
ries on  ]the  head  and  around  the  neck  of  the  dress. 
These  should  not  be  heavy.  Stockings  and  slippers 
scarlet. 

The  mistletoe  girls  must  be  blond  and  dress  in  the 
same  style  as  the  holly  girls;  but  their  dresses  are 
white,  their  ribbons  and  slippers  pale  green,  and  the 
wreaths  are  of  mistletoe  with  its  white  berries. 

Each  girl  carries  a  half  wreath  (the  half  of  a  barrel 
hoop  is  right  for  size)  covered  with  holly  or  mistletoe 
to  match  her  dress. 


HOLLYBERRY  DRILL. 

For  Ten  or  Tzvelve  Little  Girls. 

A  prettier  drill  for  small  children  can  scarcely  be 
prepared.  Costumes  are  of  simple  white,  with  red  rib- 
bons and  stockings,  and  hoilyberry  wreaths  in  the  hair. 

E^ch  carries  a  wreath  of  holly  and  its  red  berries 
and  a  fancy  basket  filled  with  bits  of  paper  cut  fine  to 
reprf-sent  snow.  The  girls  enter  in  time  to  a  lively 
march,  in  couples,  each  carrying  her  wreath  lifted  high 
in  the  hand  toward  her  mate,  and  the  basket  held  in 
the  free  hand.    Enter  at  left  rear. 

DRILL. 

1.  Couples  advance  to  rear  center  of  stage,  set  bas- 
kets down. 


YULETIDE   ENTERTAINMENTS.  3i 

2.  By  couples,  down  center  to  front. 

3.  Couples  separate,  march  round  on  either  side  to 
rear. 

4.  Lines  meet  at  rear  center,  pass,  march  down  oppo- 
site sides  to  front,  meet  and  pass,  back  to  rear. 

5.  Lines  meet  again  at  rear  center,  front  face,  ad- 
vance to  front  in  a  single  line  across  the  stage  with 
curtsey  step. 

In  this  step  the  right  foot  is  advanced  a  step  for- 
ward and  to  the  right  on  first  count,  right  knee  bent 
in  a  curtsey  on  second  count,  left  foot  advanced  a  step 
forward  and  a  little  to  the  left  on  third  beat,  and  the 
left  knee  bent  in  a  curtsey  on  fourth  beat,  etc. 

The  wreath  is  held  up  a  little  above  the  face  and 
swayed  to  the  right  or  left  in  unison  with  the  foot 
which  is  advanced. 

6.  When  the  line  reaches  the  front  of  the  stage,  the 
wreath  is  held  over  the  head  with  both  hands,  and  the 
children  retreat  to  the  rear  by  skipping. 

7.  Down  center  in  couples  to  front ;  wreaths  held 
high  to  touch  mate's  wreath. 

8.  Couples  separate ;  march  either  side  to  rear. 

9.  Lines  meet.  Then  each  line  or  side  forms  in  a 
group  by  itself,  the  free  hands  clasped  and  crossed  in 
the  center,  the  wreaths  held  above  the  head. 

10.  Both  groups  then  skip  around,  like  a  wheel 
turning. 

11.  Groups  form  in  line  again  at  rear,  forward  to 
front  with  curtsey  steps  as  at  No.  5. 

12.  Repeat  No.  6. 

13.  Groups  form  again,  one-half  being  in  each 
group,  and  form  circles,  the  wreaths  hung  on  their 
arms  while  they  join  hands  and  skip  in  a  circle. 

14.  Repeat  Nos.  11  and  12. 

15.  Repeat  Nos.  7  and  8.  Put  wreaths  down  at  the 
back  and  take  up  baskets. 

16.  Couples  down  center  to  front. 


34  YULETIDE   ENTERTAINMENTS. 

17.  Mates  face  each  other.  The  two  facing-  lines 
retreat  to  the  sides,  skipping-  backward. 

18.  Lines  skip  to  center,  throwing  "paper  snow" 
from  the  baskets  at  each  other,  then  skip  back  to  sides, 
throwing  the  paper  continuously,  so  as  to  keep  the  air 
full  of  the  white  snow.  Repeat  this  advance  and  re- 
treat twice  more.  When  the  lines  meet  the  third  time 
the  throwing  ceases,  the  couples  march  together  down 
center  to  front,  holding  hands  together  high,  and  car- 
rying the  empty  baskets  in  the  other  hands. 

March  around  the  stage  and  off. 


THE  PICKANINNY'S  CHRISTMAS. 

For  Three  Boys.    More  Can  be  Added  at  Pleasure. 

Directions  of  close. 

Tune:     "Dixie's  Land." 

Oh,  Chris'mas  sho'ly  am  a-comin', 

Don'  you  hear  the  banjos  tummin?  {Imitates  banjo.) 

"Chris'mas  gif,"  "Chris'mas  gif,"  "Chris'mas  gif," 

Dat's  de  way. 
All  de  w'ite  folks  gib  us  cake  an'  candy, 
Any  ole  'ting  what  comes  mos'  handy 
When  we  call  "Chris'mas  gif,"  "Chris'mas  gif," 

On  dis  day. 

Oh,  I'm  glad  'tis  merry  Christmas, 

Ain'  I  glad  ?  Ain'  I  glad  ? 
Oh,  I'm  glad  'tis  Chris'mas,  merry  Chris'mas 
Wid  its  gif  s  and  holly  berry, 

Ain'  I  glad?   Ain'  I  glad? 
I'm  glad  'tis  merry  Chris'mas ! 

Ain'  I  glad?   Ain'  I  glad? 
I'm  glad  'tis  merry  Chris'mas. 


YULETIDE  ENTERTAINMENTS.  35 

Oh,  won't  we  hab  de  shoat  an'  possum 
Fixed  up  fine  wid  fruit  and  blossom. 
Chris'mas  gif,  Chris'mas  gif,  Chris'mas  gif, 

Dat's  de  way. 
An'  de  Chris'mas  gifs  make  a  mighty  showin' 
Sho's  you're  bawn,  ef  you'se  only  knowin' 
How  to  call  "Chris'mas  gif,"  "Chris'mas  gif," 

Dat-a-way. 

CHORUS. 

Oh,  I'm  glad,  etc. 

DIRECTIONS. 

If  there  are  three  who  take  part  in  this,  one  boy 
can  sing  the  song  and  the  others  join  in  the  chorus,  or 
all  can  sing  the  entire  song  together.  Let  the  one  who 
sings  the  verses  stand  between  the  other  two.  If  there 
are  more  let  the  leader,  w^ho  sings,  stand  before  the 
others,  who  form  a  straight  line  from  right  to  left  be- 
hind him.  All  face  the  audience.  During  the  stanzas 
they  clap  gently,  keeping  time  as  the  leader  sings. 

At  the  chorus,  while  singing,  they  put  their  arms 
across  each  other's  shoulders,  the  end  ones  with  outer 
hands  on  hips,  and  take  the  following  steps : 

1.  Step  three  steps  to  the  right,  hop  on  right  foot, 
and  swing-  the  left  foot  before  the  right. 

2.  At  accented  measures  (corresponding  to  "hurray, 
hurray")  stamp  in  time  first  with  left,  then  with  right 
foot. 

3.  Three  steps  to  left,  hop  on  left  foot  and  swing 
right  foot  before  the  other. 

4.  Three  steps  to  front  (starting  with  right  foot), 
hop  on  right  foot,  swing  left  before  the  other. 

5.  Stamp  in  time,  first  with  left  foot,  then  with  right, 
then  hop  on  left  foot  and  swing  the  right  in  front  of 
the  left,  then  hop  on  right  foot  and  swing  the  left  foot 
in  front  of  the  right, 

6.  Stamp  with  right  foot,  then  with  left ;  hop  on  left 
foot,  swing  right;  hop  on  right  foot,  swing  left. 


36  YULETIDE   ENTERTAINMENTS. 

ThVb  completes  the  first  stanza  and  chorus.  Then, 
without  singing",  and  in  time  to  the  same  tune,  let  the 
line  behind,  led  by  the  leader  in  front,  give  a  dance. 
The  motions  are  given  below,  but  the  time  of  them 
must  be  found  as  the  boys  practice. 

It  is  called  a  "dance,"  but  in  reality  is  posturing  and 
stepping.  Any  other  motions  than  those  given  can 
be  used  if  desired,  the  only  requirement  being  that 
those  in  the  line  move  in  unison. 

If  the  leader  can  do  so,  let  him  elaborate  upon  the 
motions,  dance  a  clog  dance  or  a  shuflle ;  or  let  him 
attitudinize  in  any  absurd  way.  At  the  close  let  him 
come  to  position,  clapping  in  time  as  the  second  stanza 
is  sung,  stepping  as  before  at  the  chorus,  and  repeat 
the  dance  afterward. 

DANCE. 

1.  All  turn  to  right,  the  first  boy  with  hands  on  hips, 
the  others  with  hands  on  the  shoulders  of  the  one  in 
front.  Hop  on  right  foot,  throw  left  foot  high,  hop 
on  left  foot,  throw  right  foot  high.  This  takes  four 
measures  and  carries  them  four  steps  toward  the  left 
of  the  stage. 

2.  This  starts  at  the  words  (or  where  they  would 
be  if  sung)  "Chris'mas  gif,"  etc.  Each  boy,  with  arms 
held  at  full  length  over  head,  and  hands  clasped,  V\'hirls 
entirely  around,  once  for  each  measure,  ending  with 
a  stamp  of  right  foot  on  the  last  word  and  a  quick 
wheel  toward  the  right  of  the  stage. 

3.  Repeat  Nos.  1  and  2  toward  the  right.  It  is  now 
the  chorus. 

4.  Front  face,  arms  across  shoulders ;  step  obliquely 
to  right  one  step  first  beat,  bend  right  knee  second 
beat,  with  body  and  head  bent  to  right.  Second  step 
obliquely  to  left  third  beat,  bend  left  knee  fourth  beat, 
bend  body  and  head  to  left.  Alternate  in  this  way 
until  eight  steps  are  taken,  when  the  next  words  would 
be  "Ain'  I  glad?  Ain'  I  glad?"  (the  second  time). 


YULETIDE   ENTERTAINMENTS.  37 

5.  Each  boy  raises  arms  overhead,  clasps  his  hands 
together  and  whirls  once  for  each  "Ain'  I  glad."  At 
the  words  "I'm  glad  'tis  merry  Christmas"  he  stamps 
with  left  foot,  whirls  as  before  at  the  next  two  repe- 
titions of  "Ain'  I  glad,"  but  does  not  stamp  at  the  last 
line,  only  folds  his  arms  and  bows,  first  to  right,  then 
to  left. 

CURTAIN. 


POP-CORN  DANCE. 

For  Sixteen  Little  Girls. 

Dresses  white,  short  and  tluffy;  zvhite  stockings  and 
slippers.  Capes  and  caps  of  yellozv  cambric.  The  capes 
reach  the  bottom  of  the  dresses  and  have  openings  for 
the  arms  to  pass  through,  and  the  caps  are  round  skull 
caps  fitting  the  top  of  the  head  closely.  The  "dance" 
is  a  series  of  simple  steps  and  movements  which  are 
easily  learned. 

Music:  A  march  or  two-step. 

1.  Enter  at  left  rear  in  couples  to  a  slow  march,  and 
for  each  step  make  a  turning  motion  of  the  body  to 
right  or  left  as  the  right  or  left  foot  advances.  March 
across  the  rear  to  right  corner  and  turn  diagonally  and 
sharply.  March  to  Teft  front  and  again  turn  and  march 
across  the  front  of  the  stage.  When  the  double  line  is 
in  the  center,  halt,  front  face,  and,  beginning  with  the 
leader  nearest  the  audience,  let  one  at  a  lime,  first  in 
the  front,  then  in  the  rear  line,  give  one  hop  on  the 
right  foot,  then  rest  until  this  hop  has  been  made  by  all. 

2.  (Music  slightly  quickened.)  Lines  step  back  with 
left  foot  a  little  to  the  left,  curtsey,  rise,  as  the  beats 
of  the  music  indicate.  Repeat,  with  right  foot  toward 
the  right,  curtsey,  rise  and  repeat  these  backward 
movements  until  the  rear  of  the  stage  is  reached,  both 
lines  moving  in  unison 


38  YULETIDE  ENTERTAINMENTS'. 

3.  Advance  to  front  of  the  stage  with  same  motion, 
front  hne  stepping  to  right,  and  rear  line  to  left  simul- 
taneously, thus  giving  a  zig-zag  motion. 

4.  Still  holding  hands  the  ends  of  the  two  lines  move 
back  until  an  angle  is  formed,  the  joined  hands  of  the 
lines  as  they  are  held  forward,  forming  the  apex.  The 
step  for  this  motion  is  a  hop,  first  with  right,  then  with 
left  foot,  bending  the  body  almost  at  right  angles  to 
right  or  left  in  tlic  direction  the  step  is  taken. 

5.  Reverse  the  motion  with  steps  forward  until  a 
straight  line  is  again  formed. 

6.  Front  line  kneels  on  right  knee,  raises  joined 
hands  high  on  first  measure,  lower  them  on  second 
measure,  repeat  for  four  measures.  Rear  line  advances 
one  step  in  such  manner  that  the  girls  of  rear  line  alter- 
nate with  those  of  front  line,  but  behind  them.  Un- 
clasp hands  and  each  make  four  liop; ,  first  on  right, 
then  on  left  foot,  turning  as  she  does  so.  This  com- 
pletes a  revolution.  Then  take  one  step  to  the  right 
on  the  first  beat  of  the  nuisic.  bend  right  knee  (thus 
dipping  or  curtseying)  on  the  second  beat,  one  step 
to  the  left  on  third  beat,  bend  left  knee  on  fourth  beat. 
This  completes  four  measures. 

7.  Rear  line  kneels  on  right  knee,  but  does  not  join 
hands  until  tiie  front  line  rises,  unclasp  hands  and 
steps  quickly  backward  between  those  kneeling.  This 
takes  one  measure.  Then  the  kneeling  line  clasp  hands 
as  at  No.  6a,  and  those  standing  repeat  No.  6b.  Repeat 
this  until  each  line  has  knelt  twice.  This  should  bring 
them  to  the  position  they  had  before  Nos.  6  and  7,  viz., 
in  parallel  rows  facing  the  audience,  only  at  the  rear  of 
the  stage  instead  of  the  front. 

8.  Both  lines  clasp  hands.  Rear  line  steps  close  to 
the  front  line  and  puts  the  clasped  hands  over  the  heads, 
and  in  front  of  the  front  line.  This  brings  the  girls 
alternating.  The  solid  line  thus  formed  runs  forward 
four  steps  (starting  on  left  foot)  in  double  time,  viz., 
two  steps  to  each  count.    At  the  fifth  step    (which 


YULETIDE   ENTERTAINMENTS.  39 

brings  them  on  the  left  foot)  hop  on  the  left  foot,  then 
on  the  right  foot.  Repeat  these  two  movements — the 
running  forward  and  the  hopping — until  the  front  of 
the  stage  is  reached.  It  should  take  three,  perhaps 
four,  repetitions. 

9.  Both  lines  unclasp  hands.  Rear  row  steps  back 
to  its  place  behind  the  front  row  as  it  was  before  No.  8, 
and  each  girl  puts  her  hands  over  the  shoulders  of  the 
girl  directly  in  front  of  her,  who  raises  her  hands  to 
clasp  them.  The  four  couples  on  the  right  now  turn 
to  the  right  (away  from  the  center)  and  those  on  the 
left  face  left.  The  two  sets  now  move  away  from  each 
other  with  short  steps  and  double  time  four  steps  for- 
ward (always  left  foot  first).  The  rear  girl  steps  to 
the  right  of  her  partner  and  they  run  four  steps  diag- 
onally to  the  right.  The  rear  girl  then  steps  behind 
her  partner  and  they  run  four  steps  forward.  The 
rear  girl  then  steps  to  the  left  of  her  partner  and  they 
run  four  steps  diagonally  to  the  left.  This  figure  is  a 
little  like  that  in  the  skate  or  barn  dance. 

10.  The  two  sets  now  .right-about-face  and  dance  to 
the  center  as  they  danced  away  from  it,  the  front  girl 
now  being  the  rear  one  and  dancing  at  either  side  of 
her  partner,  etc. 

11.  When  they  meet  at  the  center  they  face  front, 
and  all  in  unison  dance  to  the  front  as  in  No.  3,  except 
that  the  forward  movement  is  in  the  same  direction, 
and  not  zig-zag. 

12.  Repeat  Nos.  2.  3,  4,  5.  6  and  7. 

13.  Dance  to  the  front  of  the  stage  with  the  couples 
holding  hands  as  in  No.  10,  but  the  figure  is  different. 
Let  the  couples  run  four  short  steps  diagonally  to  the 
left  on  the  first  two  beats  of  a  measure,  then  hop  first 
on  the  left  foot,  then  on  the  right ;  then  run  diagonally 
to  the  right  four  steps,  hop  twice,  etc.,  repeating  these 
movements  until  the  front  of  the  stage  is  reached. 

14.  Retreat  to  rear  with  the  same  steps  as  in  No.  13, 
only  running  backward.    Here  throw  off  the  cloaks. 


40  YULETIDE   ENTERTAINMENTS. 

As  they  are  buttoned  only  at  the  neck,  this  can  be  done 
suddenly  and  all  together.  By  throwing  the  capes  quite 
to  the  back  of  the  stage  as  they  stand  they  will  be  out 
of  the  way  of  further  movements.  All  the  time  they 
are  doing  this  (which  should  occupy  not  more  than 
two  measures,  and  one  if  possible)  the  hopping  is  kept 
up.  This  is  the  popping  of  the  corn,  which  thus  comes 
out  in  its  fluffy  white. 

15.  Dance  to  front  again  by  the  following  steps: 
Four  steps  to  left  and  forward,  hopping  alternately  on 
either  foot,  then  four  steps  to  right  in  the  same  way ; 
four  steps  to  left,  etc.,  and  then,  without  losing  step — 

16.  Retreat  to  rear,  going  backward  with  the  same 
step.  At  the  rear  form  a  line  in  front  of  the  capes  on 
the  fioor.  During  the  last  four  numbers  the  music  has 
quickened  until  it  is  as  fast  as  can  possibl}'^  be  kept  time 
with. 

17.  The  instant  this  line  is  reacherl  let  the  chil- 
dren step  side  by  side  to  form  one  continuous  line, 
all  holding  hands.  The  two  at  the  ends  of  the  line 
now  put  their  free  hand  on  their  hips,  and  raise  the 
hands  clasping  their  neighbors  as  high  as  they  can. 
The  next  ones  hold  the  hands  of  the  third  numbers 
level  with  their  shoulders,  and  tip  their  heads  toward 
the  third  ones.  These  third  ones  kneel  on  the  right 
knee,  and  have  one  hand  up  to  hold  the  hands  of  the 
second  ones,  and  the  other  hand  lower  to  hold  the 
hands  of  the  fourth  in  line,  who  kneel  on  both  knees 
as  flat  as  possible. 

The  tw^o  in  the  middle  of  the  line  stand  holding 
their  joined  hands  as  high  as  possible,  the  others  take 
positions  as  the  second,  third  and  fourth  in  the  lines 
have  done.  The  result  is  a  pop-corn  chain  in  two 
festoons. 

If  this  is  done  instantly  the  effect  is  very  pretty. 
The  change  from  the  "popping"  of  the  corn  to  the 
stillness  of  the  festoons  being  unexpected  and  striking. 


YULETIDE   ENTERTAINMENTS.  41 

At  the  same  time  the  music,  which  continues  to  the 
end,  is  played  softer  and  slower. 

18.  This  pose  is  held  for  several  measures.  The 
music  then  gives  the  signal  by  resuming  a  marching 
tempo,  and  playing  louder ;  those  kneeling  rise,  and 
the  whole  line  forms  a  circle,  holding  hands.  The 
circle  dances  around  twice  one  way,  then  twice  the 
other  way,  by  running  two  steps,  hopping  at  the  third 
step,  and  repeating. 

19.  The  circle  parts  and  swings  back  to  a  single 
line,  where  the  festoon  is  again  formed,  and  held 
several  measures. 

Curtain. 


THE  SLEIGHBELL  DRILL. 
For  Tii'dve,  or  More,  Boys,  Ten  to  Tzvelve  Years  Old. 

Music:  ^-Iny  brisk  march  or  two-sfcp  -a'iU  he  suitable. 
The  music  of  "Jingle,  Bells"  or  any  similar  piece  in  the 
same  kind  of  time  may  be  used. 

Costumes  described  at  close. 

The  step  for  this  is  merely  a  trot,  with  short  steps, 
and  following  the  leaders  closely.  The  wands  are 
to  be  shaken  in  time  to  the  music  constantly,  except 
where  otherwise  indicated. 

1.  Enter  at  opposite  sides  of  rear,  wands  held  in 
right  hands  at  sides,  left  hands  on  hips. 

Cross  stage  toward  each  other,  meet,  turn  and  go  to 
front,  then  diagonally  back  to  rear  center.    Fig.  1. 

2.  Leaders  turn  to  right  and  left,  across  rear,  down 
sides  to  front,  across  front  till  they  meet.    Fig.  2. 

3.  All  put  left  hands  on  shoulder  of  next  one,  the 
one  at  extreme  left  keeps  his  hand  on  his  hip.  All 
step  back  diagonally  with  left  foot  one  step,  bend  left 
knee,  and  keep  right  knee  straight.  This  makes  the 
line  sink  backward      At  the  same  time  extend  right 


42 


YULETIDE   ENTERTAINMENTS. 


hand   diagonally  to   right,   shaking  wand   in   time   to 
music.     lioid  two  measures. 

4.  Left  foot  and  right  hand  back  to  position ;  hold 
two  measures. 


<=>.    <:=:*: 
^^S^^ 


f 


/^ 


/  V 


I 


^^^^- 


5.  Step  diagonally  back  one  step  with  right  foot — 
bend  right  knee — left  knee  straight — right  arm  held 
directly  overhead — wand  shaken  in  time.  Hold  two 
measures. 

6.  Back  to  position,  as  at  No.  4. 

7.  Leaders  turn  toward  rear — pass  to  rear — march 
diagonally  to  front  at  the  extreme  right  and  left — back 
to  rear  at  sides — across  back  to  center — all  in  the  trot 


■^^y  <^. 


which  is  in  double  time.  Fig.  3.  In  this  figure,  and 
in  all  of  them,  let  every  boy,  in  following  the  leader, 
go  to  the  precise  spot  that  the  leader  does  before  turn- 
ing.   Unless  this  rule  is  carefully  followed  the  outlines 


YULETIDH   ENTERTAINMENTS. 


4y> 


of  the  figures  are  lost,  corners  are  missed,  and  the 
whole  drill  becomes  confused  instead  of  effective. 

8.  Down  center  to  front  in  single  file,  stepping  into 
place  alternately  from  each  side — halt. 

They  are  now  in  one  line,  in  the  center,  facing  front. 
Beginning  with  the  foremost  boy  as  No.  1,  the  odd 
numbers  bend  at  right  angles  toward  the  right,  and 
stretch  the  wand  out  at  the  right,  shaking  it  rapidly 
so  as  to  make  a  quivering  sound  with  the  bells.  The 
even  numbers  take  wands  in  left  hands,  right  hands 
on  hips — bend  to  left — hold  left  arms  at  right  angles — 
and  also  quiver  their  wands.     Hold  two  measures. 

9.  All  erect — hands  holding  wands  held  up  over- 
head— all  quiver  wands — hold  two  measures.  Execute 
these  two  movements,  alternating,  four  times  each. 

10.  Wands  in  right  hands — left  hands  on  hips.  All 
to  front,  where  they  separate,  the  leaders  turning  to 
their  own  sides,  right  or  left,  and  the  others  following. 
They  turn  backward  close  to  the  center  line,  and  march 
to  tiie  rear.  Sides  turn  right  or  left,  then  back  in  a 
loop,  to  the  center,  where  they  again  form  in  a  single 
line.    Fig.  4. 

11.  This  line,  led  by  No.  1  (the  foremost  one  as  in 
No.  8),  takes  a  line  like  Fig.  5 — all  holding  wands 
overhead  and  shaking  them  in  time  to  the  music. 


C^' 


12.  When  the  front  is  reached  the  line  separates, 
the  leaders  turning  to  their  own  side,  and  the  others 
following.  March  to  sides — up  side  to  rear— -across 
rear  to  center — where  they  meet,  halt,  front  fate. 


44  YULETIDE   ENTERTAINMENTS. 

13.  The  line  now  moves  forward  four  steps — halts — 
and  the  boys,  by  couples,  strike  each  other's  wands 
twice ;  the  first  time  one  strikes  and  the  other  parries, 
the  second  time  reverse.  Move  four  steps  forward 
again,  repeat  the  striking,  and  so  continue  to  the  front. 
(The  words  "march"  and  "move"  have  been  used ;  but 
it  must  be  kept  in  mind  that  unless  other  steps  are  in- 
dicated all  moving  is  done  with  the  trot  before  referred 
to.) 

14.  At  front  repeat  Nos.  3,  4,  5,  6  twice. 

15.  Line  separates,  turning  to  sides — up  sides  to 
rear — across  rear  till  they  meet  at  center,  where  they 
repeat  Nos.  8,  9,  10  and  11.  (Notice  the  difference 
between  "No.  3,"  or  4,  and  "Fig.  3,"  or  4.) 

16.  When  leader  is  at  front  he  turns  toward  rear, 
others  following  in  a  single  line,  and  they  go  hi  a 
circle,  twice ;  the  first  time  arms  held  at  right  angles, 
shaking  the  wands  in  time  to  music ;  the  second  time 
around  the  wands  held  overhead  and  quivered, 

17.  At  completion  of  the  second  circle  the  line  sep- 
arates, each  leader  leading  his  line  to  right  or  left  as 
they  reach  the  front — across  front  to  sides — up  sides 
to  rear,  where  they  go  out  as  they  came  in.  As  each 
boy  reaches  the  side  where  he  turns  to  go  toward  the 
exit,  he  reaches  his  wand  out  to  the  audience,  gives 
one  emphatic  shake  of  the  bell,  then  as  he  turns  away 
lets  his  hand  fall  to  his  side. 

DIRECTIONS. 

Costumes  of  red  cambric ;  knickerbocker  trousers, 
jacket  belted  at  the  waist,  and  cut  in  points  below  the 
belt,  each  point  having  a  small  bell  on  it ;  cap  like 
toboggan  cap  with  bell  at  the  point.  Let  the  boys  go 
in  stocking  feet,  or  with  red  cloth  slippers.  Stockings 
red.  Each  carries  a  stick  a  foot  long,  and  one-half 
the  size  of  a  broom  handle.  This  is  covered  with  cloth 
like  the  suit,  and  has  a  bell  at  the  tip. 


YULETIDE   ENTERTAINMENTS.  45 


PART  11. 

Dialogues,  Exercises,  Musical   Pieces 
and   Piays 


ALL  THE  YEAR  'ROUND. 

For  One  Adult  or  Large  Boy  and  One  Small  Boy. 
Santa  Claus  must  be  made  to  look  very  short  and  fat. 

Boy  enters,  sits  dozvn,  leans  elbozv  on  table  and  his 
head  on  his  hand. 

Boy.  Whatever  shall  I  do?  Christmas  is  almost 
here  and  not  a  single  thing  finished.  You  see  (address- 
ing audience),  when  a  fellow's  folks  have  a  small  purse 
and  a  large  family  there's  no  such  thing  as  spending 
money  for  us  boys.  (Gets  up,  zoalks  back  and  forth 
talking,  ivith  hands  in  pockets.)  All  we  earn  goes  for 
shoes,  I  guess.  (Stops  and  looks  at  his  oivn,  then  looks 
up  laughing.)  Anyhow,  they  wear  out  fast  enough. 
(Resumes  zvalk.)  But  I'm  glad  I'm  big  enough  to 
work  for  my  own  shoes.  If  I  did  nothing  but  play 
while  father  worked  for  me  I'd  feel  worse  than  any- 
thing. (To  audience.)  You  knovv^  how  that  is.  Besides, 
I'm  the  oldest  of  the  bunch  and  ought  to  be  worth 
something.  But  you  know — (stopping)  it  does  beat  all 
how  many  things  grown  folks  can  find  for  boys  to  do. 

I  go  to  school — of  course — and  I  take  a  job  whenever 
I  can  catch  it  out  of  school  hours,  and  I  carry  papers 
mornings,  but  that  don't  take  all  the  time,  and  I  thought 
I'd  get  a  lot  of  things  done  for  Christmas  since  I  can't 
buy  things.  But  d^:)  you  s'pose  I've  done  it?  (^Sits 
dozvn.)   No,  sir-ee.  Not  a  thing  finished. 


46  YULETJDE   ENTERTAINMENTS. 

1  was  making  a  shoe  box  for  father  and  1  haven't  got 
any  farther  than  getting  a  box  to  work  on,  for  I've  had 
to  milk  the  cow  and  feed  the  chickens — and  mend  the 
gate — 'cause  father  was  away.  Then  I  had  a  new 
woodbox  for  mother — a  jolly  nice  one — all  trimmed 
with  bars  of  wood  and  stained  ;  but,  no,  sir,  mother,  she 
needed  me  for  'bout  a  hundred  and  'leven  things,  and 
work  at  it  I  couldn't.  And  this  boat  for  Bub  (sJwzi'S 
it),  not  half  done.  And  a  bob-sled  for  little  Sis — and 
a  [)hotograph  frame  for  Gramma — and — oh,  pshaw. 
I'm  just  plum  disappointed,  and  that's  the  truth.  Not 
a  gift  done  for  anybody.  (Leans  elbows  on  knees  and 
chin  on  hands.)  If  I  was  a  girl  I  guess  I'd  cry. 
(Santa  Claus  walks  in,  lays  his  hand  on  Boy's  shoul- 
der. Boy  jumps  up  as  he  looks  around.)  Jiminy !  You 
most  scared  me.    (Boivs.)    How  de  do? 

Santa  Claus.  \^ery  well,  thank  you  ;  and  how  do 
you  do  ?   What's  the  trouble  ? 

Boy.  Excuse  me ;  but  how'd  you  know  it  was 
trouble?  It  isn't  a  serious  trouble,  you  know;  only  boy 
trouble. 

S.  C.  Boy  troubles  are  hard  to  carry  sometimes. 
What  are  yours? 

Boy.  Alostly,  I  guess,  that  I've  not  got  my  gifts 
done — and  can't  finish  them  now,  'cause  there's  not 
time.  And  that  means  that  there  will  be  less  for  the 
stockings,  you  know. 

S.  C.  That  is  hard  lines.  But  why  couldn't  you 
finish  them? 

Boy.  Sit  down,  won't  you?  (They  sit  dozvn.)  Why 
— because — well,  I  had  to  do  lots  of  things.  Kindling, 
you  know,  and  bringing  in  wood  for  mother — and  tak- 
ing care  of  the  baby  sometimes — and  keeping  little 
Bud  out  of  mischief — and  sometimes — well,  you  see, 
I'm  the  oldest,  and  the  others  are  too  little — some- 
times I  wash  the  dishes.  Mother  has  so  much  to  do, 
and  I  ought  to,  don't  you  think  so? 


YULETIDE   ENTERTAINMENTS.  47 

S.  C.  Indeed,  you  ought,  and  I'm  proud  to  find  a 
boy  who  does  it.  But  do  you  know,  son,  /  think  you 
are  making  a  great  mistake. 

Boy  (looking  alarmed).    Am  I?  What?  I'm  sorry. 

S.  C.  You  say  you  have  nothing  to  give  at  Christ- 
mas. It  strikes  me  that  you  are  giving  a  good  many 
things,  and  very  nice  ones,  too. 

Boy  (bczi'ildercd).    1  don't  understand. 

S.  C.  No?  (Smiles,  winks  at  audience.)  What  is 
Christmas  for,  anyhow? 

Boy.  Forf  Why — it's  Christmas,  Santa  Claus' 
birthday,  you  know.  (S.  C.  nods.)  And  it's  for — for 
good  will  to  men,  I  guess — and — 

S.  C.  (nods).  Right  you  are,  son.  And  what  do  you 
give  Christmas  gifts  for? 

Boy.  Oh — because  it's  fun ;  'cause  a  fellow  likes  to 
make  it  nice  for  the  other  folks  and  give  'em  a  good 
time,  and — well,  'cause  it's  fun. 

S.  C.  Right  you  are  again,  son.  See  here,  now. 
Didn't  you  milk  the  cow  for  father  and  all  such  things 
while  he  was  away? 

Boy.     Yes — 'course. 

S.  C.  And  didn't  it  make  him  feel  comfortable  to 
know  that  things  were  going  right  while  he  was  gone  ? 

Boy.     Guess  so.   Sure. 

S.  C.     More  comfortable  than  to  have  a  shoe  box? 

Boy  (slowly).   Per — haps — yes. 

S.  C.  And  you  got  kindling,  and  took  care  of  the 
baby,  and  washed  dishes  for  mother? 

Boy.     'Course. 

S.  C.  And  didn't  that  make  it  easier  for  her  than 
if  she  had  a  pretty  woodbox? 

Boy  (slozvly).    I  guess  so.    Yes — sure. 

S.  C.  And  doesn't  little  Sis  enjoy  having  long  rides 
on  your  sled  better  than  to  have  a  sled  of  her  own  to 
go  alone  on? 

Boy.     I'm  not  so  sure  about  that. 


48  YULETIDE   ENTERTAINMENTS. 

S.  C.  /  am.  And  didn't  little  Bob  like  the  snow 
man  it  took  you  so  long  to  make  for  him  better  than 
the  little  boat?  And  didn't  dear  old  Grandma  care 
more  for  the  yarn  you  wound,  and  the  needles  you 
picked  up.  and  the  fires  you  built,  and  the  errands  you 
did,  and — 

Boy  {squirming).  Aw.  Hold  on.  Those  are  such 
little  things. 

S.  C.  True  enough,  and  each  of  them  took  some 
of  your  time,  and  kept  you  from  making  the  photo- 
graph frame ;  and  each  of  them  made  her  lonely  day 
a  little  easier,  didn't  it  ? 

Boy.  Well,  I  should  hope  so.  Say.  I  think  it  must 
be  awful  when  you  can't  run  and  holler  and  have  fun — 
and — I  guess  some  day  I'll  be  old  like  that.  {Shrugs 
shoulders.)    Gee!  {Whistles  softly.) 

S.  C.  {rises,  puts  arm  across  Boy's  shoulder).  Don't 
you  begin  to  see,  my  son,  what  I  mean  ? 

Boy  {looks  at  him  a  minute).  That  little  things 
strung  along  are  better  to  make  folks  happy  than  a 
bigger  thing  for  a  gift  at  Christmas? 

S.  C.  {slaps  Boy  on  the  hack,  grabs  his  hands  and 
shakes  them  vigorously  while  he  laughs.  Boy  rises.) 
That  is  it.  to  a  tee.  And  do  you  begin  to  see  any 
farther  ? 

Boy  {looks  at  S.  C.  in  silence  a  minute).  Perhaps 
you  mean — do  you  mean — that  to  live  that  way — doing 
little  things  all  the  time — would  be  like  Christmas? 
{Excitedly.)  Jiminy  Christmas!  I  see!  I  see!  Why! 
I  can  keep  Christmas  going  the  whole  year  'round  that 
way! 

S.  C.  That  is  the  only  Santa  Claus  worth  while,  and 
the  only  Christmas  that  can  ever  be  real,  for  it  is  the 
Christmas  spirit  of  love  and  kindness.  (Boy  whirls 
around,  fosses  up  his  cap.    S.  C.  e.rit.) 

Boy.  Christmas  and  Santa  Claus  all  in  one.  And 
every  day  in  the  year.  Say — {turns  suddenly  and  S.  C. 
is  gone).   Why — where — {looks  all  around,  then  says 


YULETIDE   ENTERTAINMENTS.  49 

slo7vIy)  well,  I'll  be — isn't  that  the  queerest  thing? 
(Puts  hands  in  pockets.)  But  I  see  it  just  the  same. 
(Musingly.)  "The  Christmas  spirit  of  love  and  kind- 
ness." "The  only  Santa  Claus  worth  while."  Christmas 
every  day  in  the  year.  (Shouts.)  Hooray  for  Christ- 
mas.   Fm  going  to  tell  mother.    (Exit.) 


A  BOY'S  CHRISTMAS. 

For  Three  Boys  of  Ten  or  Twelve  Years. 

Tzvo  sit  zvhittling,  one  zvorking  on  the  edge  of  a 
small  ivooden  box,  the  other  at  the  edges  of  a  pieee 
of  zvood  about  one  incli  thick  by  a  foot  square.  The 
third  has  an  oblong  box  partly  together  and  is  sawing 
the  other  piece  or  whittling  the  edges  as  they  talk. 

Frank — 

Christmas  is  coming — it's  awfully  slow — 
What  do  you  think  you  will  get  ?  Say,  Joe. 

Joe— 

I  don't  know,  Frank,  and  I  don't  much  care 
If  only  I  get  some  good  skates — so  there! 

Tom — 

That  isn't  what  bothers  me  most,  you  see, 

I  always  get  lots  on  the  Christmas  tree, 

Bat  what  shall  I  give?  That's  the  hardest  part. 

Joe— 

Fm  making  my  little  kid  brother  a  cart. 

(Holds  it  up.  t 
But  somehow  this  wood  won't  saw  a  bit  straight, 
And  it  splits  where  I  nail  it.   That's  what  I  hate. 

Frank — 

Right  you  are  there,  Joe.    See  what  I've  made? 
My  knife's  pretty  dull,  so  I  broke  the  best  blade. 

Tom— 

What  do  you  call  it? 


50  YULETIDE  ENTERTAINMENTS. 

Frank — 

A  box,  at  the  start, 

For  sister's  best  ribbons ;  but  it  would  come  apart 

Till  I  put  some  big  nails  in.   They  broke  it  in  two, 

And  I  had  to  stick  it  together  with  glue ; 

And  now  it  don't  look  so  awfully  well 

Tqj. {Looks  at  it  dolefully.) 

Put  pictures  all  over  it,  then  you  can't  tell 

It  ever  was  broken.   That's  what  /  would  do. 

But  say !  How  it  bothers  when  one  works  with  glue. 

Now  this!    (Holds  it  up.)    It  has  stuck  everywhere 
that  it  could 

Except  where  I  wanted  to  make  it  real  good. 
Tom— 

That's  just  what's  the  trouble.  It's  this  way  with  me. 

I  work  hard,  and  make  things  as  nice  as  can  be, 

But  somehow,  they  never  seem  quite  the  right  way 

To  give  for  a  present  on  Christmas-tree  day. 
Joe  (exclaims  suddenly) — 

I  know! 

Frank — 

Well,  what  is  it? 
Tom— 

Out  with  it,  then,  Joe. 
Joe— 

We  like  to  make  gifts  like  the  others,  you  know, 

(They  nod  in  agreen.ent.) 

But  something  or  other  most  always  goes  wrong. 

Frank — 

I  know  how  it  is. 
Tom— 

Yes,  you've  put  it  quite  strong. 

But  Mother  can  understand  things  at  first  sight, 

And  she  will  say  "thank  you,"  and  call  it  all  right. 

I'll  give  this  to  Mother.   She's  just  the  right  one! 

She'll  like  it  and  use  it,  because  I'm  her  son. 


VULETIDE   ENTERTAINMENTS.  51 

Frank — 

Say,  Joe,  you're  a  trump  to  think  up  a  nice  way 
For  us  to  give  presents  on  Christmas-tree  day. 
My  box  goes  to  Mother — she  knows  about  ghie, 
And  she'll  fix  it  up  till  for  something  't  will  do. 

Tom — 

This  board  I  have  whittled  all  smooth,  and   'twiil 

make 
A  board  to  cut  on  for  bread  or  for  cake, 
ril  give  it  to  Mother,  and  she's  sure  to  say 
"Thank  you,  Tom ;  you  make  nice  gifts  for  Christ- 
mas-tree day." 


A  CHRISTMAS  BARGAIN. 

For  Tzvo  Characters,  Mother  and  Child. 

Stage  setting:  The  furnishings  of  a  modern  room. 
Costumes  modern  and  simple. 

Mother  (draws  Child  to  her  side,  kisses  her, 
Child  stands  Zi'ith  Mother's  arm  around  her).  It  is 
almost  Christmas  time,  little  girl.  What  would  you 
like  to  have  Santa  Claus  bring  you? 

Child.  I  only  want  one  thing-,  mother  dear,  and 
Santa  Claus  can't  give  me  that,  nor  anyone  else. 

Mother.  Are  you  very  sure,  dear?  Santa  Claus 
can  do  wonderful  things,  you  know. 

Child.  I'm  very  sure,  motherkin.  And  if  I  can't 
have  that,  I  don't  care  about  Christmas. 

Mother.  Why,  my  little  Mary?  Tell  me  about  it, 
dear.  Possibly  I  can  arrange  it,  for  I  want  to  have 
you  happy  more  than  anything  else  in  the  world, 
especially  at  Christmas  time.    Tell  me. 

Child.     You  won't  laugh  at  me? 

Mother.     No,  dear ;  I  won't  even  think  a  laugh. 

Child.  Well,  then,  I  want  to  be  grown-up  and 
have  you  a  little  girl. 


52  YULETIDE   ENTERTAINMENTS. 

Mother.     Why,  Mary,  Mary! 
Child.     Now  you  are  laughing  at  me. 
Mother.     My  dear!  I'm  just  as  sober  as  I  can  be. 
Child  {pouting).   Your  eyes  laugh,  anyhow. 
Mother  {takes  Child  by  the  shoulders  and  holds 
the  Child  in  front  of  her  at  arm's  lengtli).    Look  in 
my  face,  Mary ;  straight  in  my  eyes,  and  tell  me  why 
you  want  such  a  strange  thing. 

Child  {hesitatingly).  I— don't— just  like  to, 
mamma.    You  might  not  like  it. 

Mother.  I  shall  like  it  if  you  tell  me  the  true 
reason,  dear. 

Child.     And  you  won't  cry? 
Mother.     Not  a  tear. 

Child  {slowly).  It's  because  I'm  so  tired  of  being  told 
I  can't  do  things,  and  of  having  to  do  things  I  don't 
like.  Oh,  mamma!  You  don't  know  how  tired  I  am 
of  being  somebody  else.    I  want  to  be  just  me. 

Mother  {drazving  Child  to  her  side  again).  Are 
you  some  other  mamma's  little  girl? 

Child.  Not  another  mamma's  little  girl,  but  I  can't 
be  the  me  I  want  to  be.  The  me  inside  of  me  wants  to 
be  a  very  different  me  indeed. 

Mother  {They  sit  silent  a  moment).  Would  you 
like  to  try  it  just  for  one  day? 

Child  {standing  up  suddenly)  Mamma,  dear !  What 
do  you  mean? 

Mother.  I  mean  this,  Mary.  Suppose  that  just  for 
one  day  we  pretend  that  you  are  mamma,  and  I  am 
Mary.  I  shall  have  to  say  that  we  must  both  stay  at 
home,  just  us  two.  If  there  were  more  time  I  wouldn't 
say  even  that.  But  if  you'll  agree  to  that  we'll  try. 
Child  {eagerly).  To  do  just  as  I  want  to? 
Mother.     Yes,  dear. 

Child.     And  you  will  do  what  I  tell  you? 
Mother.     If  I  possibly  can. 

Child  {jumps  up  and  down).  Oh,  goody,  goody! 
And  I  can  have  what  I  want  for  dinner?    And  wear 


YULETIDE   ENTERTAINMENTS.  53 

the  dress  I  want?  And  I  needn't  go  to  school?  Nor 
practice?  And  I  can  sit  up  as  late  as  I  want  to? 
Really? 

Mother.     All  of  that. 

Child.     All  right.     When  will  we  begin? 

Mother.  Right  now,  if  you  like.  It's  morning, 
and  it  isn't  school  time  yet.  But  I'd  like  to  ask  one 
question.  Is  this  to  be  the  Christmas  present  you  want 
more  than  anything?  And  are  there  to  be  no  other 
gifts  ? 

Child.  Why,  mamma,  if  I  could  be  really  the 
mamma,  and  not  just  pretend,  and  if  it  could  be  all  the 
time,  and  not  just  one  day,  I  wouldn't  want  another 
single  thing.  I  truly  wouldn't.  But  I  think — I  wish — 
I  could  have  a  few  other  things,  little  ones. 

Mother.  Very  well,  then.  You  are  mamma  now, 
and  I  am  Mary. 

Child.  First  thing,  then,  I'll  have  chicken  for 
lunch  and  cream  puffs.  {Goes  tozvard  the  door.)  And 
some  of  that  raspberry  jam — and — coffee.  (Turns  to 
Mother.)  Yes,  I'm  going  to  have  coffee.  You  can't 
have  any,  ]\Iary.  It  isn't  good  for  little  girls.  But  / 
can  have  it.  Mammas  always  do.  {Turns  to  door 
again.) 

Mother.     Are  you  going  to  cook  them,  mamma? 

Child.  No  ;  'course  not.  Bridget'll  cook  'em. 
(Turns  suddenly  to  Mother.)  Oh,  mamma!  Will  you 
tell  Bridget  to  mind  me?  'Cause  she  don't  knov/  I'm 
mamma,  you  know. 

Mother.     Very  well.   I'll  do  it  now.    {Goes  out.) 

Child.  And  hurry  back,  please,  'cause  I  want  you 
to  be  Mary. 

•^  CURTAIN. 

Scene  II — Mother  seiving.  Child  comes  in  dressed 
fancifully. 

Child.  Mary,  have  you  finished  that  hemming? 
'Cause  I  want  you  to  practice. 


54  VULETIDE   ENTERTAINMENTS. 

Mother.  Not  quite,  mamma.  But  can  I  play  when 
this  is  done? 

Child  (severely).  No,  Mary,  you  can't.  You've 
played  enough;  and  if  you  don't  go  to  school,  why, 
you've  got  to  study  at  home — just  lots.  (Sits  dozvn, 
adjusts  dress,  folds  hands.)  You've  got  to  do  lots  of 
sums,  and  most  fifty  words  in  spelling.  And  you've 
got  to  practice — two — hours.  Just  scales  and  finger 
exercises,  nothing  else.  (Apologetically,  aside.)  I'm 
not  doing  this  to  be  mean,  mamma,  I  truly  ain't.  But  I 
want  you  to  see  how  it  feels  to  have  to  do  things  you 
don't  like.  (Continues  tc/'//?  dignity.)  You  see  Mary, 
mothers  know  lots  more  than  little  girls.  I  mean  they 
think  they  do — and  /  know  you  must  do  that  way. 

Mother.  But  I'm  hungry,  and  it's  long  past  lunch 
time. 

Child.  I  know  it,  IMary,  but  you  finish  that  before 
you  can  have  any  lunch.  (In  a  little  girl's  tone.) 
Really  and  truly  Bridget  is  horrid.  She  said  it  would 
take  her  too  long  to  fix  all  the  things  I  told  her  to,  and 
when  I  in-sis-ted — I  had  to  stamp  my  foot  at  her — 
she  just  said  all  right,  but  I'd  have  to  wait  for  'em  then. 
Does  she  do  that  way  when  you  are  the  mamma? 

Mother.     She  is  rather  trying  sometimes. 

Child.  Mercy!  I  should  think  so!  (Resumes 
grozvn-iip  air.)  Now,  after  lunch — when  it  comes — 
if  it  ever  does — I'm  going  to  play  all  the  afternoon. 
Oh!  I  forgot.  Don't  mothers  ever  play?  Don't  you 
play  sometimes,  when  you  are  the  mamma  ? 

Mother.     Oh,  yes. 

Child.     But  how? 

■Mother.  I  read  (Child  makes  a  face)  or  do  fancy 
wofk. 

Child.     I  hate  sewing. 

Mother.     Or  I  have  a  friend  to  lunch. 

Child.     Yes,  but  you  only  sit  and  talk. 

Mother.     Or  I  write  letters. 

Child.     That's  worse  than  sewing. 


YULETIDE  ENTERTAINMENTS.  55 

Mother.  Or  I  play  the  piano.  Oh,  I  enjoy  myself 
very  much. 

Child.  Well,  I  don't  think  mammas  have  a  bit 
good  time  if  that  is  all  they  do.  {Jumps  up,  skips 
across  the  floor.)  Oh,  I  know!  (Stops,  sits  dozen  in 
another  chair,  is  dignified  agaiti.)  I  forgot.  (Apolo- 
getically.) You  see,  I've  been  Mary  so  long.  Well, 
Mary,  you  go  and  bring  me  my  jewelry.  (Mother 
hesitates.)  Go  right  along,  child.  You  must  obey  me 
at  once.  (Mother  goes  out,  Child  smiles.)  I  guess  she 
finds  that  isn't  very  easy.  (Bounces  up  and  dozvn  on 
her  chair.)  My!  But  it's  horrid  to  sit  still  so  long! 
I'd  like  to  go  swing,  only  mammas  never  do.  (Squirms 
about.   Mother  enters,  hands  her  tzvo  jezvel  bases.) 

Mother.     Shall  I  practice  now? 

Child.  No ;  do  your  sums.  All  those  on  the  four 
pages  I  showed  you — all  of  them.  (Opens  bases.) 
Now  I'm  going  to  put  all  of  these  on — all  the  rings 
and  all  the  bracelets.    (Tries  them  on.) 

CURTAIN. 

Scene  III — Evening.  Mother  reading.  Child  sit- 
ting upright  and  nodding,  trying  to  keep  azvake.  After 
three  or  four  hard  nods  she  yawns  and  says: 

Child.  Mary,  it's  time  you  went  to  bed.  I'd  have 
sent  you  long  ago,  only  papa  was  away  and  I  was 
lone — I  mean — I  missed  him. 

Mother.     Shall  I  go  to  bed  now? 

CiTiLD.     No.    My  head  aches. 

Mother.  Shall  I  smooth  it?  Little  girls  can't  help 
much  when  folks  don't  feel  well,  can  they? 

Child  (snappishly).  Don't  talk  like  that  to  me.  I'm 
feeling  real  mizzable.  (Sighs,  leans  back  in  chair.) 
Read  to  me.   Quick. 

Mother.     What  shall  I  read? 

Child.  Oh,  for  goodness  sake !  You  ask  foolish 
questions.    Read  what  mammas  like,  of  course. 


56  YU  LET  IDE  ENTERTAINMENTS. 

Mother.  Not  Cinderella  ? — nor  the  Fairy  Prince — 
or — 

Child  {idst fully).  If  I  was  Mary  I  would  say, 
"Yes."  But  I'm  mamma.  {Then  suddenly  runs  to  her 
mother  and  leans  against  her.)  Oh,  I  don't  want  to 
be  Mother  any  more.  It's  hard  and  tiresome.  I  want 
you  to  cuddle  me — my  head  aches — and  I  haven't 
played  all — day — lo — o — ng".  And  Bridget  has  been 
horrid — and  I  never  want  to  taste  cream  puffs  again — 
nor  fruit  cake — nor  lots  of  sugar  in  my  tea.  Bridget 
said  I  ate  enough  of  'em  to  sink  a  ship.  And  I  feel 
awful  here.  (Hand  on  stomach.)  Oh.  mamma,  mamma  ! 
(jVIother  holds  her  close  and  kisses  her.)  And, 
mamma,  it's  almost  Christmas,  and  I  promised  to  take 
this  for  a  present.  And  it's  all — just — wasted !  Oh, 
dear  me! 

Mother.  Little  Mary,  listen  to  me.  Some  day  you 
will  be  as  happy  to  be  a  really  mother,  I  hope,  as  I  am ; 
but  just  now  you  are  a  little  girl,  and  I  don't  want  you 
to  be  an}i:hing  else. 

Chu.d.     I  don't  want  to  any  more. 

Mother.  And  /  think  the  nicest  present  you  can 
have  will  be  to  forget  all  about  yourself,  and  have  a 
lovely,  happy  time  with  some  other  children.  Shall  we 
ask  Santa  Claus  for  that? 

Child.  Yes,  oh  yes !  But,  mamma,  I  know  there 
isn't  any  really  Santa  Claus,  but  I  like  to  think  there  is. 

Mother.  So  do  I,  dear.  There  really  is  a  Santa 
Claus  spirit,  though,  which  every  one  can  have. 

Child.  Sing  to  me,  mamma.  Christmas  wouldn't 
be  Christmas  without  it. 

Mother  (taking  Child  in  her  lap).  You  are  rather 
a  big  little  girl  to  be  rocked,  but  I'll  try  it.  (Sings 
Christmas  carol.) 

CURTAIN. 

In  the  foregoing  it  is  well  to  have  the  one  person- 
ating "Mother"  a  large  woman  in  order  to  make  as 


YULETIDE   ENTERTAINMENTS.  57 

much  contrast  as  possible  between  her  and  "Mary." 
As  Mary  has  a  good  many  Hnes  to  learn,  her  part  must 
be  taken  by  one  not  too  young ;  but  with  proper  dress- 
ing the  effect  of  a  little  girl  can  be  attained.  If  Mary 
is  too  large  to  be  held  in  the  lap  in  the  last  scene,  let 
her  sit  on  a  footstool  and  lay  her  head  on  Mother's 
lap. 


THE  FIRST  CHRISTMAS. 

For  One  Adult  or  Large  Girl  and  One  Child  as  Small 
as  Can  Learn,  the  Part. 

This  may  be  presented  ivholly  without  accessories, 
except  a  chair  and  a  small  table  and  zvork  basket,  or 
made  to  picture  a  Puritan  home. 

The  effect  of  this  simple  thing  lies  in  the  spirit  put 
into  it  by  the  actors.  Well  done  it  is  exceedingly  effec- 
tive. 

Costumes  and  directions  at  the  close. 

Child   (enters,  goes  to  Mother,  zvho  sits  sewing — 
leans  against  her  knee)  — 

Mother,  I  heard  the  children  say 
That  Christmas  will  be  here  tomorrow. 
I  never  heard  of  that  before, 
Is  it  a  time  of  joy  or  sorrov^? 

Did  you  keep  Christmas  years  far  back 
In  your  old  home  across  the  water? 
Mother — 

Yes,  child,  with  gifts  and  great  yule  logs. 
But  that  was  long  ago,  my  daughter. 

Child — 

Tell  me  about  it,  mother  dear. 

Why  did  you  have  such  Christmas  gladness? 

And  did  you  give  to  all  you  loved? 

Did  you  help  all  who  lived  in  sadness? 


58  YULETIDE   ENTERTAINMENTS. 

Mother — 

Dear  child,  this  is  the  time  of  year 

The  dear  Lord's  birth  is  celebrated. 

But  heathen  rites  and  wicked  mirth 

Have  marked  for  theirs  all  things  created. 

And  so  'tis  wrong  for  us  to  join 

In  ceremonies  so  unfitting. 

(Puts  down   her  zvork,   takes  Child's  hand.) 

But  come.    The  storm  is  fierce  without, 

And  glistening  snow  is  downward  flitting. 

{Rises.) 
To  bed,  oh  little  daughter  mine. 
The  pines  and  winds  their  songs  are  singing, 
And  all  the  stars — and  Lady  Moon — 
Their  watchful  care  to  you  are  bringing, 

(Mother  starts  to  go  out,  Child  steps  in  front  of 
her  and  looks  up  into  her  face.) 

Child — 

But,  Mother  dear,  on  my  birthday 
You  give  me  gifts,  and  I  am  merry. 
Why  is  it  wrong  on  Christ's  birthday 
For  us  to  help  make  others  cheery? 

Mother — 

To  bed,  my  little  daughter  mine, 

Nor  vex  your  childish  heart  with  fretting. 

(Starts  to  go,  Child  again  stops  her.) 

Child — 

But,  Mother,  you  had  Christmas  time, 
You  told  me  so;  you're  not  forgetting? 

Mother — 

Nay,  child,  I  don't  forget. 
Child — 

Then  why 

Can  it  be  wrong  if  you  could  do  it? 

You  are  so  good.    It  made  you  glad. 


YULETIDE   ENTERTAINMENTS.  S9 

Mother — 

But  I  have  learned  to  sadly  rue  it. 

Child — 

But  tell  me  why.   I  cannot  see 
Why  joy  displeases  the  good  Father. 
For  when  we're  glad  we  want  to  share, 
And  make  all  others  glad  together. 

Mother  (moves  tozvard  the  door) — 

'Tis  time  my  little  maid  should  go 
And  on  her  pillow  white  be  sleeping; 
While  God  shall  guard  through  all  the  night, 
And  winter  stars  their  watch  be  keeping. 

{They  go  out.) 

Mother  (returns  alone,  clasps  hands  as  she  says:) 

My  little  maid !    Ca)i  it  be  wrong 
To  give  her  Christmas  joy,  I  wonder? 

(Thinks,  gets  zvork  basket,  sits  down,  fashions  a 
rough  doll,  previously  prepared,  from  bits  of  cloth. 
She  puts  on  a  dress  of  gray,  like  her  ozcn — it  can  be 
tied  and  pinned  together  by  previous  practice — with 
apron  and  kerchief.  This  is  done  as  she  talks,  zvith 
occasional  pauses,  finishing  it  silently  and  holding  it 
up  to  viezv.) 

W^as  it  all  wrong — that  happy  mirth — 
In  the  old  home  in  England  yonder? 

Her  childish  questions  reach  my  heart. 
God  loves  to  have  us  glad,  most  surely; 
And  loving  Him,  our  love  for  all 
Must  stronger  be,  and  grow  more  purely. 


50  /ULETIDE   ENTERTAINMENTS. 

(Goes  out  holding  up  the  doll  for  her  oivn  admira- 
tion. After  short  interval  returns  ivithout  the  doll: 
goes  to  window  and  looks  out,  speaking  slowly.) 

And  now  'tis  dawn ;  the  night  is  gone, — 
And  it  is  hoi}'-  Christinas  morning. 
Snow-drifts  and  ice  and  glittering  stars 
Are  miracles  for  its  adorning. 

(A  pause.  Child  runs  in  joyously,  hugging  the 
doll.  As  she  talks  she  clasps  her  Moti-ier  and  shows 
all  possible  joy,  dancing  up  and  down,  etc.) 

Child — 

Oh  mother  dear !  Oh  mother  dear ! 
See  what  I  found  beside  me  sleeping ! 
If  God  kept  v/atch  He  knew  it  came, 
And  knows  how  Christmas  we  arc  keeping. 

If  you  love  me  so  much,  and  love 
To  give  me  gifts  like  this,  dear  mother, 
How  very  loving  God  must  be ! 
He  must  love  more  than  any  other ! 

Mother  (takes  Child's  hand  and  puts  her  arm  around 
her)  — 

Dear  little  maiden  mine !  Your  faith 
That  best  of  lessons  holy, 
That  loving  God  is  loving  all; 
And  Love  is  Help  to  high  and  lowly. 
curtain. 

costumes. 

Both  dress  alike.  Dress  gray,  plain  waist  and  close 
sleeves,  skirt  to  ankles.  White  apron,  white  kerchief 
crossed  over  the  shoulders,  plain  muslin  caps,  not  tied 
under  the  chin,  white  stockings,  low  shoes. 

The  mother  is  very  gentle  and  loving,  the  child 
eager  and  impetuous.  This  can  be  made  very  "taking" 
by  having  both  the  characters  children ;  the  smaller 
the  better. 


YULETIDE  ENTERTAINMENTS.  61 

THE   KING   OF   THE   YEAR. 

For  Seventeen  or  More  Characters. 

This  can  be  carried  out  ivith  children  entirely  or  with 
part  adults. 

characters. 
New  Year.  Easter. 

Saint  Valentine.  May  and 

Saint  Patrick.  June. 

Boys.  Girls. 

April  Fool,  Hallowe'en. 

Fourth  of  July.  Thanksgiving. 

Vacation  Twin,  Vacation  Twin 

Santa  Claus,  the  King. 
No  stage  setting  required  except  throne  for  the  King, 

GREETING    SONG, 

Tune:    "A-Roving." 
Children  (enter,  curtsey  to  audience.   Sing.)  — 
We've  gathered  here,  kind  friends  so  dear, 
To  choose  ourselves  a  King"; 
And  when  we  find  the  nicest  kind 
We'll  clap  our  hands  and  gayly  sing, 
A  welcome  to  our  king 
We  will  gayly  sing. 

chorus. 
Oh,  glad  will  the  day  be  when 
We  have  a  king  who  joy  will  bring! 
We'll  give  a  joyous  welcome 
To  our  king. 
(New  Year  enters,  hozvs  to  children.    They  curtsey  to 
him.    He  sings.) 

Tune:  "Kingdom  Comin'." 

My  little  friends,  I  bring  you  greetings 

For  a  happy  New  Year's  Day. 
I'm  the  holiday  of  hope  and  rejoicing, 


62  YULETIDR  ENTERTAlNMU.NrS. 

And  I  drive  dull  care  away. 
You  all  enjoy  the  rosy  pictures 

'Of  the  future  that  I  bring, 
And  you  like  to  make  my  good  resolutions, 

So  you'd  better  crown  me  king! 

Children  (singing  chorus). 

The  New  Year  comes,  ho,  ho !    We  hate  to  see  it  go ; 
For  we  like  to  make  good  resolutions 
Which  we  never  keep,  you  know ! 

(New  Year  steps  to  one  side.    Valentine  enters, 
salutes  the  children  first,  then  the  audience.) 

Tune:  "She's  Gone;  Let  Her  Go." 

Valentine — 

I'm  the  patron  saint  of  the  children. 
But  I  care  for  all  true  hearts  as  well. 
Be  they  sixteen  or  sixty  I  love  them  all, 
And  they  long  for  my  magic  spell. 

Dear  Cupid's  my  merry  attendant. 
He  obeys  me  where'er  he  may  be. 
You  may  roam  this  wide  world  over, 
But  you'll  never  find  a  friend  like  me. 

Children — 

Valentine  is  a  good  saint,  we  love  him ; 
Cupid  dear  is  a  very  good  friend, 
With  his  kisses  and  darts,  and  his  loving  hearts, 
There  are  thrills  for  us  without  end. 

(Valentine  retires.   Saint  Patrick  enters,  salutes, 
and  sings.) 

Tune:  "Mush,  Mush." 

Saint  Patrick — 

Oh,  me  darlin's,  I've  come  to  remind  ye 
That  'tis  I'm  the  best  fri'nd  can  be  found. 


YULETIDE   ENTERTAINMENTS.  63 

Where's  the  toime  for  sich  rolHckin'  fun  now 
As  ye'll  get  when  my  day  comes  'round? 

All  (join) — 

For  'tis  mush,  mush,  mush  tu — ral — i — ad — dy, 
Sing  mush,  mush,  musli  tu — ral — i — ay, 

(Pat.  dances,  all  keep  time.) 

There's  ne'er  a  gossoon  in  the  village 
But  welcomes  Saint  Patrick's  fine  day. 

Saint  Patrick — 

So  children  dear,  don't  ye  forget  me, 
I've  hearts  of  all  kinds  for  yer  choice, 
Take  yer  pick, — but  don't  fail  to  remember 
An'  shout  fer  me  wid  yer  swate  voice. 

All — 

For  'tis  mush,  etc.  (Pat.  dances,  etc.) 

(Saint  Patrick  retires,  Easter  enters,  salutes,  etc.) 

^  Tune:    "Upidee." 

Easter —  "^ 

I  come  to  bring  you  Easter  morn, 

Easter  morn,  Easter  morn, 
It  tells  the  winter's  cold  has  gone 

Happy  Easter  morn, 
The  day  when  come  the  flowers  of  spring, 
The  day  when  all  the  sweet  birds  sing. 

All — 

Happy  Easter  day  is  here, 

Happy  day,  happy  day ! 
For  winter's  death  has  gone  away, 
Blessed  Easter  day. 

(April  Fool  dances  in,  sings  joyously,  attitudinising.) 
April  Fool — 

I  come  to  banish  solemn  thought, 
April  fool!  April  fool! 


64  YULETIDE   ENTERTAINMENTS. 

You're  free  for  jokes — but  don't  get  caught, 

Jolly  April  fool !  ^^^.^^^^  ^^  g^^^^^,^ 

She's  all  right,  sure,  but  follow  me, 
And  fun  and  frolic  you  shall  see. 

{Music,  but  no  singing.  April  prances  and  dances, 
Children  wave  hands  in  time,  others  move  heads  in 
time.  At  close  April  hows  himself  hock  into  a  place 
zvith  the  other  holidays.   May  and  June  enter.) 

Tunc:   "Noah's  Ark." 
May  and  June — 

Oh  children  dear,  see  here,  see  here, 
We've  come  with  beautiful  flowers. 
The  winter  gray  has  gone  away, 
And  we're  not  afraid  of  the  showers. 

May — 

May  time  posies 

Are  all  for  you  to  be  picking ; 

June — 

June  time  roses 

Are  yours,  you  may  gather  them  all. 

May— 

The  grass  is  green,  come  choose  your  queen, 
Here's  crown  and  scepter  of  flowers; 

June — 

On  bush  and  vine  my  blossoms  twine, 
And  sweeten  the  sunny  hours. 

chorus. 
May  time  posies,  etc. 

Children — 

The  flowers  have  come,  the  blessed  flowers. 
With  joy  our  voices  are  ringing. 
For  Maytime  posies,  June-time  roses. 
Give  we  thanks  as  we  sing. 


YULETIDE   ENTERTAINMENTS.  65 

May-time  posies 
Are  all  for  us  to  be  picking ! 

And  June-time  roses 
Are  ours,  we  may  gather  them  all ! 

(May  and  June  retire,  July  enters,  keeping  time 
■with  a  slight  tap  of  his  drum  until  he  reaches  his  place, 
and  very  lightly  through  the  first  verse,  then  louder  at 
the  chorus.) 

Tune:    "Rumsty  Ho!" 
July— 

The  firecrackers  pop,  and  the  guns  go  bang! 

Hip  hurrah  !  Hip  hurrah ! 
The  cannons  go  "boom !"  and  the  gay  bells  cling- 

clang ! 
And  the  boys  shout  the  message  "Fourth  of  July!" 
Hip — a — yi !  Fourth  July ! 

This  day  is  jolliest  of  them  all. 

Hip  hurrah  !  Hip  hurrah ! 
The  crackers  are  popping,  and  drums  do  call, 
And  the  flags  are  a-flying  on  house  and  hall. 

Hip — a — yi !  Fourth  July  ! 

(Children  join.  July  marches,  taps  drum,  all  keep 
time,  softly  patting  hands,  strike  hands  at  second  sylla- 
ble of  "Hurrah,  hurrah!"  and  again  at  last  syllable  of 
hip — a — yi  and  July.) 

The  drummer  boys  drum,  the  band  calls  sweet. 

All — 

Hip  hurrah  !  Hip  hurrah ! 

July— 

The  soldiers  are  marching  along  the  street, 

And  you  have  to  keep  time  with  your  hands  and  feet. 

All — 

Hip — a — yi !  Fourth  July ! 


66  YULETIDE   ENTERTAINMENTS. 

(July  retires.  Vacation  Twins  enter.) 
Tune:  "McSorlcy's  Twins." 

Vacation  Twins — 

Oh,  we  are  Vacation,  and  we  are  the  twins. 

Who  are  worth  all  the  rest  of  the  year. 

No  school  times  for  us,  but  we  play  all  clay  long. 

And  nothing  but  fun  you  can  hear. 

And  'tis  camping  and  riding  and  fishing  we  go, 

With  tramping  o'er  mountains  and  lea. 

Will  you  tell  us  if  ever  a  king  there  could  be 

Who  would  rule  you  so  kindly  as  we  ? 

_  CHORUS. 

Children — 

Yes,  we  know  you,  Vacation,  we  know  you  so  wel! 
You  will  be  a  delight,  that  is  clear. 
Such  elegant  times  you  give  us,  yes  we  know 
You're  the  best  of  them  all  in  the  year. 

{Repeat  the  chorus^) 

(Hallowe'en  hurries  in.) 

Tune:  "Mary  Had  a  Little  Lamb" 
Hallowe'en — 

Wait  a  little,  children  dear. 

Wait  and  hear !  Wait  and  hear  1 
You've  forgotten  something  near, 
Listen,  you  shall  hear. 
(Slower  and  with  much  emphasis  on  each  word.) 

In  autumn  time  there  conies  a  night 

Full  of  fright — a  ghostly  night. 
When  you  see  full  many  a  sight, 

Many  a  sound  shall  hear 

(She  continues,  using  the  college  chorus.) 

Here  the  witches  call!  A — a — a — ah! 

(Sung  slozvly  with  a  zvail.) 


YULETIDE   ENTERTAINMENTS.  67 

(Stage  whisper.) 

Oh  aren't  you  glad  to  hear  such  a  call  as  that? 

Hearts  going  pit — a — pat,  hair  rising  'neath  your  hat, 
Oh,  aren't  you  glad  at  the  call  of  the  witches'  cat 
At  old  ?Iallowe'en  ? 

(Quicker.) 
Wait  a  little,  children  dear, 

Wait  and  hear !  Wait  and  hear ! 
You've  forgotten  something  near, 

Something  you  shall  hear. 
(Slower,  with  earnestness,  marks  signs  in  the  air.) 

Magic  tokens  then  appear. 

Spells  are  wrought,  sounds  you  hear, 

(Slower.) 

Fortunes  told  for  all  the  year, 

(Very  slow  and  soft.) 
Told  you  soft  and  clear. 

All  (very  loud) — 

Hear  the  ^^■itches  call !  A — a — a — ah  ! 

(Repeat,  with  hands  over  ears,  then  a  third  time  very 
softly.) 

CHORUS. 

All — 

(Remove  hands  from  ears,  reach  out  both  hands  to 
Iiallow'en.) 

Yes,  we  are  glad   (hands  clasped  over  head,  eyes 
(staring)  to  hear  such  a  call  as  that, 

(Softer.) 

Hearts  going  pit — a — pat,  at  such  a  call  as  that, 

Yes,  we  are  glad  (pause,  count  five)  to  hear  such 
a  call  as  that 

(Silence,  all  listen  zuith  hand  at  ear,  count  ten  slowly, 
then  loudly.) 

At  old  Hallowe'en. 


68  YU  LET  IDE   ENTERTAINMENTS. 

(Thanksgiving  sings  behind  scenes,  all  start,  listen, 
and  as  she  enters,  as  indicated,  all  smile  and  Children 
take  hold  of  hands.) 

Tune:  "Auld  Lang  Syne." 

Should  auld  acquaintance  be  forgot 

And  never  brought  to  mind? 
Should  auld  acquaintance  be  forgot, 

And  days  of  auld  lang  syne? 
(Enters  slozvly.) 

For  auld  lang  syne,  my  dear, 

For  auld  lang  syne. 
We'll  tak'  a  cu])  o'  kindness  yet, 
For  auld  lang  syne. 

For  all  the  blessings  sent  to  us, 

For  all  the  love  that's  given, 
For  country  dear,  for  home,  for  friends, 

We  thank  thee,  God  in  heaven. 
Thanksgiving  gives  us  sweetest  cheer, 

It  turns  our  thoughts  above. 
For  all  the  blessings  of  the  year, 

We  thank  thee,  God  above. 

(Second  verse  repeated  by  all.  Raise  faces  and  fold 
hands  during  the  last  lines.   Thanksgivixg  retires.) 

(Santa  Glaus,  behind  scenes.) 

Tune:  "Oh,  Dem  Golden  Slippers." 

Santa  Glaus — 

I  am  coming  near,  I  am  almost  here, 

(.-]//  listen.) 

I  am  bringing  you  merriment  and  joyous  cheer, 
(Enters.    As  he  sings  Giiildren  shozv  various  dc' 
grees  of  delight.) 

Happy  hearts  and  faces  that  smile,  and  smile, 
I  am  bringing  to  you  children,  as  I  come. 


YULETIDE   ENTERTAINMENTS.  69 

{Winks,  nods,  shows  full  stockings  and  bundles  in 
his  pack.) 

And  the  varied  fruits  of  the  Christmas  tree. 
And  the  overflowing  stockings  you  soon  shall  see ; 
And  the  bundles  queer,  and  surprises  dear, 
I  am  bringing  to  you,  children,  as  I  come. 

Children — 

(Clap  hands  at  "merry"  zvherever  it  comes  in  the 
chorus,  surround  Santa  Claus,  taking  his  hands,  etc.) 

Oh,  'tis  merry  Christmas !  Oh,  'tis  merry  Christmas ! 
Merry  Christmas  that  we  love  best  of  all  the  whole 

round  year ! 
Oh,  'tis  merry  Christmas !  Oh,  'tis  merry  Christmas ! 
Merry  Christmas  who'll  be  our  king! 
He's  best  of  all  the  year ! 

(Repeat  chorus,  they  all  surround  Santa  Claus, 
taking  him  zvith  them  as  they  march  around  the  stage, 
half  the  children  on  either  side.  If  necessary,  sing  the 
chorus  a  second  time  to  prolong  the  march.  They  end 
by  leading  Santa  Claus  to  the  throne  and  placing 
him  upon  it,  and  as  the  children  sing  the  next  verse 
they  crown  him.  The  holidays  stand  half  on  either 
side. ) 

Children — 

There's  no  other  one  under  al]  the  sun 
Brings  us  sucli  gay  hearts  and  such  cheery  fun. 
So  we  crown  him  king,  and  we  love  to  sing 
How  we  love  him,  as  we  crown  him  our  king. 

(Holidays  join.) 

CHORUS. 

Oh,  'tis  merry  Christmas,  etc. 

All  (sing) — 

Oh,  our  hearts  grow  tender  when  he  comes  'round, 
And  we  try  to  make  happiness  for  all  abound ; 


70  YU  LET  IDE   ENTERTJINM  ENTS. 

For  his  love  for  us  makes  us  love  you  all, 

So  we  love  him,  and  we  crown  him  for  our  king. 

CHORUS. 

Oh,  'tis  merry  Christmas,  etc. 

CURTAIN. 

DIRECTIONS. 

As  they  sing'  each  holiday  comes  forward  in  turn 
and  offers  Santa  Claus  an  emblem,  which  he  hands 
to  the  children,  and  which  they  fasten — with  pins  or 
otherwise — to  the  high  back  of  the  throne,  or  to  the 
curtain  behind  him,  except  the  baslcet  of  flowers  which 
May  brings,  and  the  roses  from  June.  The  basket  is 
placed  at  his  feet,  and  the  wreath  on  the  arm  of  the 
chair  which  forms  his  throne.  The  horn  of  plenty  is 
also  placed  at  his  feet. 

Each  makes  a  low  bow  as  he  presents  his  offering. 

New  Year  offers  a  large  card. 

St.  Valentine  a  huge  valentine. 

St.  Patrick  a  big  green  shamrock,  cut  from  green 
cardboard. 

Easter  a  stalk  of  lilies. 

y\pril  his  cap  and  bells  which  he  takes  off  for  the 
j)urpose. 

May-day  her  basket. 

June  her  wreath  of  roses. 

July  a  flag. 

Vacation  Twins  a  tennis  racket  and  a  butterfly  net. 

Hallowe'en  a  witch  riding  on  a  broom,  cut  from 
black  cardboard. 

Thanksgiving  a  horn  of  plenty,  full  of  grain  and 
fruit 

Each  bows,  gives  off'ering  and  retires  to  place. 

DIRECTIONS. 

No  stage  setting  is  absolutely  needful  for  this  little 
play  except  the  throne  for  the  king,  but  if  therf*  can 


YULETIDE   ENTERTAINMENTS.  71 

be  a  small  platform  on  either  side  of  the  throne  large 
enough  to  accommodate  the  children,  or  those  per- 
sonating them,  having  the  holidays  on  the  level,  it  will 
give  a  better  effect.  The  throne  can  be  merely  a  large 
upholstered  chair,  or  it  may  be  draped  and  surrounded 
with  curtains  and  a  canopy  overhead. 

COSTUMES. 

New  Year  should  be  quite  a  small  boy  (if  children 
take  the  parts)  in  full  dress  suit.  This  is  not  difficult 
to  make  and  may  be  of  cambric.  If  an  adult  takes  the 
])art,  the  costume  may  be  the  same,  or  the  traditional 
figure  of  Father  Time  may  be  followed. 

Saint  Valentine — Shakesperian  costume,  tights, 
trunks,  cloak,  etc.   Carries  a  mandolin. 

Saint  Patrick — Knee  breeches  and  long  frock 
coat  of  gray,  battered  "plug"  hat,  green  vest  and 
stockings,  low  shoes  with  buckles. 

Easter — Long  white  dress  with  gold  cord  and  tas- 
sel around  the  waist,  gold  band  around  the  head,  hair 
hanging  loosely.    Carries  a  stalk  of  lilies. 

April  Fool — Jester's  suit  (can  be  of  cambric), 
black  tights  and  trunks,  jacket  reaching  half  way  to 
knees  and  belted  in,  bottom  of  jacket,  and  the  wide 
collar  cut  in  long  points  and  trimmed  with  orange, 


T/g./. 


with  tiny  bells  on  points.  Hood  close  fitting  to  head 
(see  Fig.  1),  with  three  curved  horns  turning  for- 
ward. These-  horns  are  stuffed  v/ith  hair.  The  collar 
is  fastened  to  the  hood,  not  to  the  jacket. 


72  VULETWE   ENrERTAINMENTS. 

May  and  June — Two  little  girls.  White  or  light 
dresses  trimmed  with  flowers,  wreaths  on  head.  May's 
flowers  are  delicate  spring  flowers,  those  of  June  are 
roses,  and  she  carries  a  wreath  of  them. 

Fourth  of  July — Boy  with  drum  hung  before  him, 
firecrackers  around  his  neck,  carries  a  flag  over  his 
shoulder,  drumstick  in  right  hand. 

Vacation  Twins — Sailor  or  khaki  suits;  one  car- 
ries a  butterfly  net,  the  other  a  tennis  racket. 

Hallowe'en — Long  black  gown,  white  cloth  over 
the  head,  hanging  evenly  all  around  the  shoulders, 
places  cut  for  eyes.  Carries  witch  riding  on  broom 
cut  from  black  cardboard. 

Thanksgiving — Puritan  costume;  or  it  may  be 
brown,  flowing  robe  trimmed  with  autumn  leaves. 
Carries  a  horn  of  plenty,  full  of  grain  (in  the  grass 
form)  and  fruit.    This  with  either  costume. 

Santa  Cl.\us — The  traditional  dress. 


MRS.  RANDY'S  CHRISTMAS. 

A  Christmas  Play  in  One  Scene. 

Eight  Characters;  Three  Adults,  Tzvo  Little  Boys 
and  Three  Little  Girls. 

Mrs.  Randy The  Mother 

Mrs.  Van  Dusen    )  Visitors 

Mrs.  Graii.\m  | 

Mary  1 

Susie 

Annie 

Teddy 

Johnnie 

Stage  setting:  A  hare  room  zvith  one  pine  table  and 
two  chairs.  Mrs.  R.  is  seated  by  the  table  darning 
stockings.    Her  zuork  basket  is  on  the  table. 


.Mrs.  R.'s  Ch.ildren 


YULETIDE   ENTERTAINMENTS.  73 

Mrs.  Randv.  Dear  me!  llow  late  it's  a-gettiii'.  I  just 
have  got  to  finish  this  mendin'  before  the  children  get 
home,  'cause  they'll  distract  me  so  I  don't  know  what 
I'm  doin'. 

This  is  the  first  day  I've  had  at  home  in  goodness 
knows  when,  'ceptiu'  Sundays,  of  course,  and  there's 
enough  needs  doin'  here  to  keep  a  dozen  busy. 

Now  let's  see.  Tomorrow's  Christmas,  and  I  ain't 
got  nothin'  to  speak  of  ready  for  the  children.  I 
thought  I'd  'a  been  able  to  save  just  a  little  by  now; 
but  that  winder  Teddy  broke  took  all  I'd  laid  by  to 
pay  for  it ;  and  the  spankin'  he  got  didn't  pay  it  back 
neither. 

So  here  I  be,  stockin's  most  mended,  but  just  about 
nothin'  to  put  in  'em.  There's  those  red  apples  Mrs. 
Jones  gave  me  yesterday,  and  there's  that  pair  of 
v.-hite  kid  gloves  I've  been  savin'  for  most  two  years, 
I  was  goin'  to  wait  till  IMary  got  a  litle  bigger  'fore_  I 
gave  'em  to  her,  but  I  guess  she'll  have  to  be  big 
enough  now.  She'll  be  real  proud  to  have  a  pair  of 
white  kid  gloves,  like  what  real  ladies  wear.  I  know 
these  are  genooine,  for  the  lady  what  wore  'em  gave 
'em  to  me.  Then  I  Avas  plannin'  to  buy  a  fine  silk  tie 
for  Teddy,  but  now  I  can't,  so  I'll  just  see  what  I  can 
do  with  that  old  one  that  used  to  be  his  father's. 

But  there  isn't  anything  for  the  little  ones,  and  now 
I  can't  buy  'em  anything.  I  must  do  something,  but 
I  surely  don't  know  what. 

Teddy  (ntshing  in  excitedly).  Ma!  Just  look! 
There's  a  fine  motor  car  stopped  out  in  the  street. 

Mary  {foUozving).  And  Ma!  See!  A  fine  lady  is 
gettin'  out. 

Mrs.  R.  Well,  if  she  ain't  a-comin'  right  in  here. 
Run  out,  quick,  all  of  you.  You  ain't  one  of  you 
dressed  fit  to  be  seen  by  a  lady  like  that.  {A  knock — 
she  shoos  them  out.)  And  I  ain't  fit  neither.  Oh, 
my!  (She  turns  her  apron  zvrong  side  out,  hastily 
picks   np   some   stockings    from    the   f^oor.     Another 


74  YULETIDE   ES^TERTAIXMHNTS. 

knock.    She  opens  door.)    How  d'ye  do?  Won't  you 
come  in?   It's  a  fine  day,  ain't  it? 

Mrs.  Van  (steps  one  step  inside  the  door).  I 
believe  you  are  the  person  who  takes  care  of  the  rooms 
occupied  by  the  "Ladies'  Literary  Club,"  are  you  not? 

ATrs.  R.  Yes,  ma'am.  There  ain't  nothin'  wrong, 
is  there? 

Mrs.  V.  (ignori)ig  her  question  as  before).  I  am 
Mrs.  Van  Dusen,  of  the  charitable  committee  of  the 
club.   I  presume  you  have  some  children? 

Mrs.  R.  Pleased  to  meet  you,  Mrs.  Van  Dusen. 
I  am  Mrs.  Randy.  Yes,  I  have  five  children. 

Mrs.  V.  Oh,  yes.  (Aside.)  What  large  families 
these  people  have.  I  see  my  surmise  was  correct.  I 
presume  you  have  nothing  ready  for  their  Christmas? 

Mrs.  R.  Yes.  I  have  for  two  of  'em,  though  it  ain't 
what  I'd  like.  See.  (Showing  the  gloves.)  Mary'll 
be  real  pleased  to  have  these.  They're  real  ladies' 
gloves,  ain't  they  ? 

Mrs.  V.  Don't  say  "ain't."  It's  bad  grammar  and 
it  gets  on  my  nerves.  (Looks  at  gloves  through  lorg- 
nette.) Goodness!  Those  dirty  things?  You  ought  at 
least  to  send  them  to  the  cleaners  first,  though  even 
then  they  are  in  dreadfully  bad  taste.  But  I  must  go, 
for  I  have  other  charitable  calls  to  make.  Here  is 
money  to  buy  something  for  the  children.  (Hands  a 
coin  from  her  purse.) 

Mrs.  R.  Thank  you;  but  I'd  rather  not.  We'd 
a-done  somehow  if  you  hadn't  called. 

Mrs,  V.  Now,  Mrs.  Randy,  don't  be  foolish.  You 
know  it  is  wrong  to  be  proud,  and  it  is  especially  un- 
becoming to  the  poor.  (Puts  money  on  the  table.) 
Now  you  can  get  presents  for  them  and  say  they 
came  from  Mrs.  Van  Dusen.   Goodby.    (Exit.) 

Mrs.  R.  Well,  I  s'pose  she  means  to  be  kind,  but 
I  must  say  I  don't  think  she  knows  how  very  well.  I 
didn't  want  to  take  her  money,  but  now  I'll  have  to. 
I  wish  Providence  didn't  provide  in  such  queer  ways, 


YULETIDE   ENTERTAINMENTS.  75 

sometimes.  Well — as  she  says — it's  wrong-  to  be  proud, 
so  I'll  get  something  with  it.  (Picks  up  the  coin.)  Fifty 
cents.  Now  ain't  that  fine?  Why,  I  can  buy  some 
presents  and  most  a  Christmas  dinner,  too.  But  I 
must  get  the  children  to  bed  early  so  I  can  fix  things 
up.  (Calls  at  the  door.)  Mary!  Teddy!  Oh,  children! 
All  of  you  come  in  now.    (Children  enter.) 

Mary.     Who  was  that  lady,  Ma? 

Teddy.     What  did  she  come  for,  anyway  ? 

Johnny.  Gee !  But  wasn't  that  a  swell  automobile, 
though ! 

Annie  and  Susie.     Ma,  who  was  it? 

Mrs.  R.  Just  you  wait  till  tomorrow  an'  see.  It's 
a  secret  now,  and  if  you  ask  another  word  I  won't  tell 
at  all.    Were  you  playin'  with  the  Smith  youngsters? 

Mary.  Yes.  An'  oh.  Ma.  They're  a-goin'  to  hang 
up  their  stockin's.    Can't  we  hang  up  ours,  too? 

Mrs.  R.  Now,  I  just  wondered  if  you'd  remember 
about  tonight's  being  Christmas  Eve,  and  you  did, 
didn't  you? 

Mary.     Yes,  of  course. 

Teddy.     You  bet. 

Mrs.  R.  We  ain't  got  no  chimney,  and  Santa  Claus 
can't  come  that  way,  but  you  just  hang  'em  on  the 
back  of  the  chair  and  I'll  leave  the  door  open  so  he 
can  get  in  that  way,  and  I  hope  he'll  not  forget  and 
pass  us  by.  Now,  Mary,  here's  a  stockin'  for  you. 
The  foot  is  too  full  of  holes  for  you  to  wear  'em,  or 
me  to  darn  'em ;  so  I  just  sewed  it  across  the  heel,  and 
it'll  have  to  do.  Teddy,  I  must  have  lost  your  other 
stockin' ;  anyway  I  can't  find  'em  now,  so  you  can  just 
use  this  old  sock  that  used  to  be  your  father's  before 
he  went  to  the  Philippines.  And  here  are  your  stock- 
in's. Johnnie,  and  Susie  and  Annie.  (Helps  pin  them 
up.)  Now  you  all  get  to  bed  quick's  you  can.  Mary, 
you  look  after  the  little  ones,  won't  you?  You 
see,  I've  got  so  much  to  do  to  make  things  tidy  for 
Santa  Claus,  that  I  can't  bother  'bout  'em.    Now  just 


76  YULETIDE  ENTERTAINMENTS. 

scoot !  AH  of  you.  And  don't  you  dare  peek,  or  Santa 
Claus  won't  leave  you  nothin'.  {All  hurry  off.  Mrs.  R. 
opens  the  table  draivcr  and  takes  out  gloves  and  tie  and 
places  them  on  the  chair,  gets  apples  and  puts  in  the 
stockings,  also.)  Now  that  ain't  enough  for  'em  all, 
so  I'll  go  buy  somethin'  with  that  money.  (Musingly.) 
Let  me  see.  Oh,  yes ;  I  know.  (Door  opens  and  Teddy 
puts  head  in,  saying,  "Ma."  Mrs.  R.  slams  drawer 
shut  and  hurriedly  covers  chair  luith  apron,  then 
anszvers,  "What?"). 

Teddy.     Ma,  where's  my  nightgown? 

]\Irs.  R.  Land  sakcs,  Teddy.  I  forgot.  I  lent  it 
to  Mrs.  McRoy  to  cut  a  pattern  for  Joe,  an'  I  s'pose 
she  forgot  to  bring  it  back. 

Teddy.     But  Islz,  what'll  I  do? 

Mrs.  R.     Wear  Johnnie's  other  one. 

Teddy.     Can't  It's  too  little. 

Mrs.  R.  Well,  then  wear  Mary's  other  one,  but 
for  goodness,  sakes  go  to  bed  or  Santa  Claus  won't 
never  come.  (Children  go  out.)  Now  I'll  go  over 
to  the  store  and  get  some  things.  I've  a  fine  idea. 
(Puts  on  shozvl  and  hat,  takes  basket.)  I'll  be  back  in 
a  minute,  and  they  won't  know  I've  been  away.  (Exit. 
After  a  moment  the  door  opens  and  Mary  puts  her 
head  in.  Dodges  back  and  then  enters  in  nis'htdress. 
Closes  door  and  starts  to  go  toward  the  table,  zvhen 
the  door  opens  again  and  Teddy  starts  in.  She  mo- 
tions him  back,  tries  to  push  him  out,  then  pulls  him 
in  and  both  go  to  the  table.  The  door  again  opens  and 
the  others  come  in  in  their  nightgozuns.  All  go  tozvard 
the  table  on  tip-toe,  stop  and  listen  and  rush  out.  After 
a  pause  the  children  com.e  cautiously  in  and  get  nearly 
to  the  table  zvhen  they  hear  their  mother  coming,  and 
rush  out  again.  Mrs.  R.  enters  zvith  a  loaded  basket 
on  her  arm,  sets  it  on  the  table.) 

Mrs.  R.  There  we  are.  Things  for  a  good  dinner, 
anyhow.  I  know  what  I'll  do  for  the  playthings, 
(Takes  off  shazvl  and  hat,  sits  dozvn  and  zvorks.    Direc- 


yULETIDE   ENTERTAINMENTS.  77 

tions  for  this  at  the  end.)  Susie  always  did  want  a 
doll  baby,  and  here's  one  she  can't  smash.  (She  works 
zvith  frequent  pauses,  holding  up  her  zvork  from  time 
to  time.)  I  think  that  is  real  scrumptious.  I've  seen 
'em  in  stores  lots  of  times  that  didn't  look  a  mite 
better.  Won't  she  be  tickled?  And  I've  thought  how 
to  make  a  elephant  just  like  the  one  in  the  store  that 
Joe's  been  begging  for.  Here's  just  the  thing.  Queer 
how  things  grow  sometimes.  You  can  work  hard  and 
you  can't  do  no  better  than  nature.  See  that  now ! 
You  never  know  what  you  can  do  till  you  try.  'Tain't 
quite  what  I  wanted,  but  it'll  have  to  do.  Leastwise 
it's  all  he'll  -gtt,  so  he'd  better  like  it.  There's  Annie, 
now.  She's  alius  beggin'  for  something  pretty,  so  I 
got  her  some  beautiful  tissue  paper  to  cut  out  fancy. 
(Takes  paper  from  basket.)  It  only  cost  three  cents, 
and  she'll  be  just  happy.  (She  begins  to  put  things 
in  stockings.  Knock  at  door.  She  opens  door  to  a 
lady.)  How  do  you  do,  Miss?  Have  you  lost  your 
way?   I  can  show  you  real  easy. 

Mrs.  Graham.  Thank  you.  but  I  think  this  is 
where  I  wanted  to  come.  Aren't  you  Mrs.  Randy,  the 
mother  of  little  Mary  and  Teddy,  and  Susie,  Annie 
and  Johnny? 

Mrs.  R.  Yes,  ma'am,  they  are  my  little  folks.  I 
hope  they  haven't  broken  anything,  or  made  any 
trouble.  Are  you  one  of  the  school  teachers  or  any- 
thing like  that  ?    Hov/  did  you  know  them  ? 

Mrs.  G.  Oh,  no.  I'm  not  a  school  teacher ;  only  a 
friend  of  one  of  the  teachers ;  and  as  I  have  no  little 
children  of  my  own  I  wanted  to  find  some  little  folks 
to  help  have  a  good  time  this  Christmas.  Just  think 
how  lonely  it  would  be  not  to  have  any  children  to 
share  your  Christmas  with.  So  I  am  going  to  ask  you 
to  let  me  have  the  pleasure  of  giving  something-  to 
yours.   Won't  you?    Please  let  n;e.  Mrs.  Randy. 

Mrs.  R.  Well,  I  must  say  that  it's  very  kind  and 
friendly  of  you  to  want  to  do  that ;  and  when  you  ask 


78  YULETIDE   ENTERTAINMENTS. 

it  that  way,  of  course  I'll  let  you  if  it  will  give  you 
pleasure,  though  I  must  say  I  would  hate  to  take 
presents  from  some.  But  you  don't  know  how  thank- 
ful I  am,  for  the  children's  sake.  I  just  didn't  know 
what  I  was  going  to  do  for  some  of  them, 

Mrs.  G.  Don't  say  any  more  about  it,  please,  but 
put  these  little  things  with  the  others  in  their  stock- 
ings tonight,  and  say  they  came  from  Santa  Claus. 
Wouldn't  you  like  to  wear  these  yourself?  (Hands 
her  the  red  holly  berries  from  her  oivn  dress.)  They 
will  be  becoming  to  you.  Good-night,  and  a  merry 
Christmas. 

Mrs,  R.  Thanks,  ma'am.  The  same  to  you  and 
many  of  'em.  (Exit  Mrs,  G,)  There  now,  just  look 
at  that,  (Surveying  the  parcels.)  I  ought  to  be  pretty 
kind  if  I  am  to  deserve  such  a  friend.  How  different 
she  is  from  that  Mrs,  \^an  Dusen,  Why,  I  declare. 
She  didn't  even  tell  me  her  name,  I  guess  she  wasn't 
thinkin'  much  about  herself.  Well,  this  surely  does 
make  me  happy.  I  wonder  what's  in  this  bundle, 
(Opens  it,  admires  things,  fills  stockings.)  And  now, 
so  much  has  happened  that  I  should  be  perfectly  happy 
if  I  could  only  get  word  from  my  John  in  the  Philip- 
pines. It's  been  so  long  since  I  heard  from  him  that 
I  can't  help  bein'  worried  'bout  him.  Seems  as  if  he 
surely  wouldn't  let  Christmas  go  by  without  sendin' 
me  word — if  he's  alive — but  it's  been  so  long — (knock 
at  the  door.  A  voice  asks,  "Is  this  Flower  Street?") 
No,  this  ain't  Flower  Street.  You've  got  a  long  way 
off.  You  go  down  that  way  (pointing)  nearly  half  a 
mile  and  you'll  cross  it.  Good-night.  (Comes  in  and 
sits  down  again.)  Dear  me.  That  gave  me  quite  a 
turn.  I  must  be  gcttin'  silly  tonight,  but  it  does  seem 
as  if  my  John  was  a-comin' — or  was  near — or  some- 
thin'.  (Knock  at  the  door,  zvhich  she  opens  to  receive 
a  telegram,  zchich  she  reads,  then  waves  it  over  her 
head,  calling  to  the  children,  zvho  run  in  in  their  night- 


YULETIDE   ENTERTAINMENTS  79 

gowns.)   Oh,  hurry  !  Merry  Christmas !  Oh,  just  think ! 
Your  father  is  comin'  tomorrow ! 

Children  (dancing  around  the  chair).  Santa  Claus 
has  been  here  already!  Hurrah!  Hurrah!  Merry 
Christmas ! 

CURTAIN. 
DIRECTIONS. 

When  Mrs.  Randy  returns  from  her  purchase  of 
Christmas  things,  she  lays  aside  her  hat  and  shawl, 
sits  down  and  takes  a  clothes-pin  or  a  potato  from  the 
basket.  If  a  potato  is  used,  one  of  the  odd-shaped  ones 
with  a  small,  round  knob  at  one  end,  which  can  be 
made  to  look  like  the  head  of  the  doll,  is  best.  Then 
out  of  the  table  drawer  she  takes  some  pieces  of 
bright  cloth  and  dresses  the  potato,  or  clothes-pin,  for 
a  doll,  tying  on  a  skirt  with  a  string,  folding  a  square 
of  cloth  for  a  shawl  and  pinning  it  on  the  shoulders, 
and  folding  another  piece  for  a  bonnet,  and  tying  it 
on  with  a  bit  of  string.    No  sewing  is  needed. 

The  elephant  for  Joe  is  made  of  potatoes  or  carrots. 
A  large  oblong  one  is  the  body ;  a  small  long  one  is 
the  trunk,  fastened  to  the  body  by  long  wire  nails  or 
brads.  In  the  same  way  four  small  ones  form  the 
legs  of  the  beast;  two  large,  black-headed  pins  are 
the  eyes,  and  two  flaps  of  brown  paper,  pinned  on, 
the  ears.  A  square  of  red  cloth  is  a  blanket  for  the 
back,  and  is  pinned  to  place.  The  tail  is  a  bit  of  string 
with  ravelled  end. 

These  things  made,  as  she  talks,  with  fitting  pauses, 
and  held  up  to  view,  cause  much  merriment  among 
the  children  in  the  audience. 


80  YULETIDE   ENTERTAINMENTS. 


READY  FOR  SANTA  CLAUS. 

Illustrated  Song  for  Ttventy-seven  or  More  Children. 

This  is  an  attractive  form  of  entertainment  for  the 
younger  grades  of  school.  Just  the  number  indicated 
may  he  used,  or  more  of  each  kind  can  be  added  as 
desired. 

Directions  at  the  close. 

^  r.  SONG. 

Candy  Bags — 

Tune:  "Rig-a-jig." 

(Candy  Bags  march  around  the  stage,  then  stand  at 
front,  on  left  side,  in  double  roiv  facing  the  audience, 
and  szvay  from  right  to  left  in  time  as  they  continue 
the  song.   They  shoidd  he  singing  as  they  enter.) 

In  stockings  by  the  fireside  hung, 
Wherever  wreaths  and  toys  are  strung, 
At  Christmas  time  our  praise  is  siuig, 

Heigh-ho !  Heigh-ho  !  Heigh-ho ! 
What  joy  we  bring  at  Christmas  tide, 
What  pleasure  scatter  far  and  wide. 
We  are  the  Christmas  candy  bags, 

Heigh-ho !  Heigh-ho  !  Heigh-ho ! 

CHORUS. 

We  are  the  Christmas  candy  bags. 

The  candy  bags,  the  candy  bags, 
We  are  the  Christmas  candy  bags, 

Heigh-ho !  Heigh-ho  !  Heigh-ho ! 

Packages — 

Tune:  "Solomon  Levi," 

(They  enter  at  rear,  march  across  the  stage ^  then 
turn  and  march  back  toward  the  entrance,  but  a  space 
forward.  This  is  during  the  first  two  lines.  When  the 
Skates  sing,  all  halt  and  front  face  during  the  next 
two  lines.) 


YULETIDE   ENTERTAINMENTS.  81 

All — 

We  are  the  various  Packages  that  come  at  Christ- 
mas time, 
So   interesting-,    so   deUghtful,    aren't    we   big   and 

prime  ? 
{All  halt,  front  face.    Skates  step  forward,  bozv, 
hold  out  their  hands  to  audience  and  sing.) 

We  are  the  Skates  for  Joe  and  Jim,  for  Nell  and 

Polly  Ann, 
And  won't  they  shout  when  we  come  out? 
Tust  beat  us  if  you  can. 

All — 

(Resume  the  march  as  before,  turning  back  to  the 
other  side  zvhen  they  reach  one  side,  thus  zueaving  back 
and  forth  across  the  stage,  and  getting  a  little  nearer 
tJie  front  each  time.) 

Oh,  isn't  it  jolly,  tra-la-Ia-la-la-la, 
"   Green  wreaths  and  holly,  tra-la-la-la-la-la-la-la-la-Ia, 
(Halt,  Gloves  step  forward  and  sing.) 

Gloves — 

And  we  are  the  Gloves  for  Mary,  and  for  Bess  and 

and  Sister  Sue, 
We'll  help  them  dress  in  tip-top  style 
And  that  is  what  we'll  do. 
(^All  mark  time  and  continue.) 

All — 

Christmas  is  a-coming  soon  and  everything's  fine  and 

gay. 
Hurrah,  then,  for  the  Christmas  time,  it  is  the  mer- 
riest day ! 

Package — 

(Steps  forzvard,  sings,, steps  back.  Others  the  same.) 
I  am  a  silk  dress  for  Mother,  I  am  rich  and  dainty, 
too, 


82  YULETIDE  ENTERTAINMENTS. 

Another  Package — 

And  I'm  a  shawl  for  Grandma  dear,  both  warm  and 
bright  in  hue. 

Another  Package — 

And  I'm  some  furs  for  Httle  May,  oh  won't  she 
happy  be? 

Another  Package — 

And  I'm  the  book  that  Helen  wants,  she'll  gladly 
welcome  me. 

All   (resuming  the  inarch) — 

Oh,  isn't  it  jolly.   Tra-la-la-la-la-la. 

Green  wreaths  and  holly,  tra-la-la-la-la-la-la-Ia-la-la. 

(Halt,  front  face.) 

Jewelry — 

And   we   are  the   necklaces   and   pins,   the   dainty, 

sparkling  rings 
Which  all  the  girls  are  longing  for,  they  love  such 

pretty  things. 

All  (marking  time) — 

Christmas  is  a-coming  soon,  and  everything's  fine 

and  gay. 
Hurrah,    then,    for   the    Christmas   time,    it    is   the 

jolliest  day. 

All  (repeat  and  march) — 

Oh,  isn't  it  jolly.   Tra-la-la-la-la-la. 

Green  wreaths  and  holly,  tra-la-la-la-Ia-la-la-la-la-la. 

For   we   are   the   various    Packages    that   come   at 

Christmas  time, 
So   interesting,    so    delightful,   aren't    we   big    and 

prime? 
Christmas  is  a-coming  soon,  and  everything's  fine 

and  gay, 


YULETIDE   ENTERTAINMENTS.  83 

Hurrah,    then,    for   the    Christmas   time,    it    is   the 
jolliest  day. 

{The  Packages  stand  behind  the  Candy  Bags.) 
Tin  Soldiers — 

Tune:  "Co-ca-che-lunk." 

(Soldiers  are  heard  behind  the  scenes  marking 
time.  Music  soft  at  first.  As  it  grozvs  louder  the  mark- 
ing time  groii's  louder;  then  they  enter,  march  to  the 
center  of  the  stage  and  halt  in  tivo  lines,  facing  the 
audience.) 

We  are  coming,   for   'tis  Christmas,  and  it's  time 

that  we  were  here, 
For  the  Httle  boys  are  waiting 
And  our  duty  is  most  clear. 
{Mark  time  stiffly  and  vigorously.) 
We  are  tin  soldiers,  and  we're  marching. 

See  how  we  move  so  straight  and  grand. 
We  are  tin  soldiers,  and  we're  coming, 

Heigh-ho !  Can't  you  just  hear  the  band  ? 

(March  during  the  next  fe^v  lines  to  front  and  right 
of  the  stage  opposite  the  Candy  Bags,  halt  and  front 
face.   At  the  chorus  mark  time  as  before.) 

See  our  uniforms  so  gorgeous 

And  our  gay  tin  guns  that  shine, 
All  the  little  boys  will  greet  us 

As  we  stand  so  straight  in  line. 
We  are  tin  soldiers,  and  we're  marching. 

See  how  we  move  so  straight  and  grand, 
We  are  tin  soldiers  and  we're  coming. 

Heigh-ho!  Can't  you  just  hear  the  band? 

Dolls — 

{Enter,  stand  in  the  center  in  tzvo  rows,  the  rag  doll 
and  the  baby's  knit  doll  in  front,  the  others  behind  in 
couples.   When  one  or  more  sing  they  step  to  the  front, 


84  YULETIDE  ENTERTAINMENTS. 

and  after  singing  stand  in  line  in  front  of  the  Tin 
Soldiers,  z^'ho  move  back  to  give  them  room.) 

Tune:  "The  Wearing  of  the  Green." 

All  (sing)  — 

We  are  the  dolls  who   come  to   little  girls   on   the 

Christmas  tree. 
We're  sent  by  good  old  Santa,  and  we're  glad  as  we 

can  be, 
Our  little  mothers  love  us  well,  but  we're  not  quite 

sure 
Of  the  fate  we'll  meet  from  children  sweet,  or  the 

ills  we  must  endure. 

Rag  Doll — 

I'm  the  best  loved  of  the  dollies; 
I'm  the  old  Rag  Doll,  you  see. 
There's  no  other  doll  who's  ever 
Loved  so  much  as  I  shall  be. 

All— 

Oh,  we  all  are  the  best-loved  dollies ; 
Little  girls  will  love  us  well. 
And  we'll  always  be  to  the  Christmas  tree 
Worth  more  than  tongue  can  tell. 

Knit  Doll — 

I'm  going  to  live  with  the  darling  child, 

She  of  the  blue,  blue  eyes. 

I  love  her,  but  I  know  she's  sure 

To  give  me  much  surprise. 

But  let  her  pound  me,  poke  my  eyes  out. 

Chew  me,  pull  my  hair, 

I'll  love  her,  for  she'll  love  poor  me — 

The  darling  baby  fair. 

Cheap  Doll — 

I'm  the  cheapest  of  the  dolls ;  my  home  will  be  both 
poor  and  mean, 


YULETIDE  ENTERTAINMENTS.  85 

But  my  owner's  sure  to  love  me  true  as  if  I  were  a 
queen. 
All — 

Oh,  we  all  are  the  best-loved  dollies ; 
Little  girls  will  love  us  well, 
And  we'll  always  be  to  the  Christmas  tree 
Worth  more  than  tongue  can  tell. 

French  Dolls — 

We  are  the  most  expensive  dolls 
That  can  be  bought  and  sold ; 
Yet  Santa  sends  us,  just  the  same, 
For  little  girls  to  hold. 

All — 

{Pointing  to  the  broken  dolls  z>.'ho  are  moving  slozvly 
toward  the  front.) 

Who  is  it  coming  ?    What  a  sight ! 
It  moves  us  all  to  tears. 

Broken  Dolls — 

We  are  the  poor  dolls  who're  played  out ; 
We've  furnished  fun  for  years. 

French  Dolls — 

Oh,  it  surely  is  most   shocking.     Shall   we  all   be 
treated  so? 

Broken  Dolls — 

We  are  glad  we  came ;  we're  loved  the  same 
As  all  the  rest,  you  know. 

All — 

Oh,  we  all  are  the  best-loved  dollies; 
Little  girls  will  love  us  well, 
But  we'll  always  be  to  the  Christmas  tree 
Worth  more  than  tongue  can  tell. 

(The  pianist  now  plays  a  lively  march,  and  all  the 
toys  parade  around  the  stage  and  off.) 


86  YULETIDE  ENTERTAINMENTS 

DIRECTIONS. 

The  Candy  Bags  arc  four  little  girls,  two  dressed  in 
red  and  two  in  white.  Their  dresses  are  of  tarletan 
or  cheeseclotii  over  slips  of  the  same  color.  They  are 
just  wide  enough  to  go  over  the  ordinary  dresses  and 
long  enough  to  reach  from  the  neck  to  an  inch  or 
so  below  the  bottom  of  their  skirts.  Let  all  be  the 
same  length.  The  top  of  the  bags  (or  dresses)  are 
gathered  with  a  ruffle  around  the  children's  necks. 
Their  arms  are  kept  inside  of  the  dresses. 

The  Packages  are  ten  boys  or  girls,  or  both.  Their 
costumes  are  shaped  of  cardboard,  inside  of  which  the 
children  stand,  their  legs  showing  below  and  their 
arms  coming  through  at  the  sides.  Holes  are  cut 
through  the  cardboard  for  them  to  see  and  breathe 
through,  and  these  holes  must  be  located  so  as  to  be 
the  inner  corners  of  the  eyes,  or  in  the  nose  of  the 
large  faces  which  must  be  marked  upon  the  wrappings 
of  the  packages.  Close  fitting  sleeves  of  the  same  color 
as  the  paper  wrapping  the  packages  are  upon  the  arms, 
and  the  stockings  should  also  match  the  paper. 

The  package  of  skates  is  covered  with  brown  paper 
over  a  cylinder  of  cardboard,  with  a  twist  at  the  top 
and  tied  with  a  large  cord. 

The  Dress,  also  of  brown  paper,  but  larger,  and  in 
an  oblong  parcel. 

Grandma's  shawl,  a  lighter  brown  paper,  tied  with 
ribbon. 

Jewelry  and  Gloves,  smaller,  one  flat,  one  round, 
covered  with  white  pai)er  and  tied  with  red  ribbon. 

The  Tin  Soldiers  are  six  little  boys.  Trousers  long, 
of  shiny  blue  cambric  with  yellow  stripes  at  the  sides ; 
shiny  red  jackets,  with  buttons  and  bands  across  the 
front  and  on  sleeves  of  yellow.  Toy  guns.  Their 
cheeks  and  lips  should  be  very  red  to  imitate  the  toy 
soldiers,  and  they  should  walk  straight  and  very  stififly, 
and  not  turn  their  head. 


YULETIDE   ENTERTAINMENTS.  87 

The  Dolls  are  seven  little  girls. 

Two  are  dressed  to  imitate  French  dolls. 

One  for  a  rag  doll. 

One  for  a  cheap  doll,  imitating  it  as  closely  as  pos- 
sible. 

One  for  a  knit  doll  for  the  baby. 

Two  for  broken  dolls.  Of  these  latter  have  one  with- 
out an  arm  (held  hidden  under  the  dress)  and  limping 
on  a  crutch,  and  the  other  dressed  so  as  to  seem  to 
have  no  head.  This  can  be  done  by  making  the  dress 
with  its  neck  above  the  head  of  the  wearer,  thus  leav- 
ing the  doll  without  a  head.  Have  but  one  arm,  and 
the  dress  waist  and  real  arms  hidden  under  a  "Mother 
Hubbard"  dress.  The  clothes  must  be  faded  and 
ragged. 


SANTA  CLAUS'  GARDEN. 
For  Ei^rhf  Characters. 


'is' 


Santa  Glaus  j .4(/;(//.j  or  Large  Boys 

Deeno,  the  Gardener  ) 

Jacks  in  the  Box Three  Small  Boys 

French  Dolls Three  Small  Girls 

DIRECTIONS    AT    CLOSE. 

Santa.  It  is  a  fine  day,  a  very  fine  day.  Fve  been 
looking  all  over  my  toy  garden  and  things  are  growing 
very  well  indeed.  The  bicycles  are  all  in  bloom  and 
the  velocipedes  are  full  of  buds.  {Inspects  the  trumpet 
vines.)  These  trumpets  are  about  ripe.  (Calls.)  Deeno! 
Hey  there,  Deeno ! 

Deeno  {enters,  touches  hat,  says).  Here  I  am,  sir. 
What  is  it,  sir? 

Santa.  I  think  these  trumpets  are  ripe,  Deeno. 
Have  them  picked  at  once.  If  they  get  too  ripe,  you 
know,  they've  a  bad  sound  to  them  and  then  they're  not 
popular.    {Pulls  one,  blows  it.)   There !  That  has  a  fine 


'88  YULETIDE   ENTERTAINMENTS. 

tone  to  it.  Nobody  could  object  to  that  now,  conld  they, 
Deeno? 

Deeno.     No,  sir,  indeed.    Fm  sure  not,  sir. 

Santa.  Ah,  Deeno,  you  know  a  good  thing-  when 
you  hear  it.  You're  a  sly  rogue.  {Shakes  finger  at 
Deeno.)  Bvit,  Deeno,  I  don't  see  those  skate  vines. 
You  surely  didn't  forget  to  plant  them. 

Deeno.  Oh,  no,  sir.  Indeed,  sir !  I  planted  'em 
.twice,  sir ;  but  the  seed  must  have  been  bad,  for  not 
one  of  'em  grew,  sir. 

Santa  {much  excited).  What!  No  skates  for  my 
boys  this  Christmas?  Whatever  shall  I  do?  Why, 
Deeno!  You  should  have  told  me  before. 

Deeno.  Oh,  sir ;  it's  all  right,  sir.  I  sent  to  the 
South  Pole  by  a  flying  machine  man,  and  spoke  for 
their  whole  crop  of  skates,  sir,  and  they  got  here  this 
morning. 

Santa.  Good  for  you,  Deeno !  You  have  taken  a 
load  ofif  my  mind.  You've  never  failed  me  yet.  Let 
me  see  some  of  them. 

Deeno.  All  right,  sir.  {Exits.  Santa  examines 
the  drum  tree.) 

Santa.  Doing  well.  Doing  well.  They'll  ripen  in 
time  for  Christmas.  Some  are  most  ready  now.  {Taps 
various  drum — examines  buds — colls.)  Hey,  Deeno! 
(Deeno  enters.)  Oh!  Here  you  are.  (Deeno  Jias 
wheeWarrozv  full  of  boxes  zvrapped,  and  two  or  three 
open,  shozving  skates.  Hands  them  to  Santa,  zvho 
examines  them.  Then  he  turns  to  the  drum  tree.) 
Where  are  all  the  sticks  for  these  drums? 

Deeno.  Bless  you,  sir  !  They're  growing  right  along, 
rows  and  rows  of  'em,  sir.  And  when  the  wind  blows 
'em,  sir,  they  act  as  if  they  were  trying  to  drum.  Yes, 
sir,  they  do. 

Santa  {smiling).  They'll  have  a  chance  to  drum 
before  long.  I've  selected  boys  for  every  pair  of  them. 
{Turns  to  skates  again.)  So  these  are  the  skates,  hey? 
Pretty   fair  skates,  but  not  quite  up  to  your  work. 


YULETIDE  ENTERTAINMENTS.  89 

Hey,  Deeno?  (Deeno  grins  and  touches  hat.)  But  I 
Vhink  the  boys  who  get  them  won't  grumble.  (Takes 
tip  a  pair  of  roller  skates.)  And  these  are  the  rollers. 
Are  they  all  like  these? 

Deeno.     Yes,  sir.    All  alike,  sir. 

Santa.  That'll  do.  Take  'em  in  to  ]\Irs.  Santa 
Claus,  and  ask  her  to  see  to  it  that  they  are  properly 
labeled.  She'll  find  the  list  of  the  boys  and  girls  they're 
going  to  in  my  desk. 

Deeno.     Yes,  sir.   All  right,  sir.    {Goes  off.) 

Santa  (bending  doivn  to  examine  them).  These 
tea  set  plants  are  very  slow  growing  this  year.  I'll  have 
them  planted  earlier  next  year.  Just  see  how  small 
these  dishes  are.  Those  on  the  east  side  of  the  garden 
are  much  larger  than  these.  (Examines  plants  in  pots, 
opens  the  buds,  one  after  another,  and  shozvs  the  dolls 
•within.)  Oh,  here  you  are,  Miss  Dolly!  You  are  to 
go  to  a  dear  little  girl,  so  you  must  hurry  up  and  grow. 
And  you  (to  another  doll  bud)  will  go  into  Annie's 
stocking.  And  you  (to  another)  will  go  to  lame  Mary. 
Oh,  yes,  I  think  dolls  are  one  of  the  most  satisfactory 
crops.  (Turns  to  the  French  Dolls,  ivho  are  cov- 
ered by  a  frame  of  mosquito  netting.)  Now  these  big 
French  dolls  are  very  hard  to  grow.  I  see  Deeno  has 
them  covered.     (Calls.)     Deeno!   Oh,  Deeno! 

Deeno  (hurries  in).   Yes,  sir;  Fm  coming,  sir. 

Santa.  Why  are  you  sheltering  these  dolls  again 
this  year?    Is  it  the  wind? 

Deeno.  No,  indeed,  sir.  The  wind  wouldn't  hurt 
'em,  sir.   It's  the  birds,  sir. 

Santa.  Birds !  I  never  heard  of  such  a  thing. 
Birds  injure  them  when  they  have  grown  to  that  size? 

Deeno.  Oh,  yes,  indeed,  sir.  Why,  they  spoiled 
two  long  rows  of  'em  last  week,  just  after  I  trans- 
planted 'em,  sir. 

Santa.     How  spoil  them  ? 

Deeno.  Pick  their  eyes  out,  sir.  That's  how  they 
spoil  'em.   Oh,  yes,  sir. 


90  YULETIDE   EXTERTATNMHNTS. 

Santa,  Let's  see  them.  {Tiiey  lift  off  the  netting.) 
Well,  these  are  beauties,  Deeno.  They  certauily  are 
beauties.   Any  of  'em  talk? 

Deeno.  This  one,  sir.  (They  zvind  her  up.  She 
says  "Papa"  and  "Mamma." ) 

Santa.     /  think  these  had  better  be  picked. 

Deeno.  Perhaps  so,  sir.  {They  appear  to  loosen 
the  doll,  lift  her  from  her  leaves  and  set  Jier  out  in  the 
path.  In  the  same  zvay  they  set  the  other  two  out.) 

Santa.  We'll  take  those  in  with  us  when  we  go. 
Better  try  those  balls  over  there.  (Pointing.  Deeno 
goes  to  the  ball  tree  and  tries  several  of  the  halls.) 

Deeno.  We'll  pick  these  about  next  week,  sir. 
They're  g^reen  yet. 

Santa.  How  are  these  Jacks-in-the-box  ?  Have 
any  of  them  popped  yet  ? 

Deeno.  Yes,  sir.  One  or  two  of  'em.  sir.  They 
must  be  quite  ready  by  now,  sir. 

Santa  {opens  a  ho.r,  Jack  springs  up).  Just  see 
that!  (Deeno  opens  a  second  box  and  Santa  a  third. 
The  Jacks  pop  up.)  And  here's  another !  I  always  did 
like  a  good  Jack-in-the-box,  and  they  nearly  always 
make  me  jump  a  little.  (To  Jack.)  Go  in  there  again. 
(Shuts  cover,  opens  it  again.)  Oh,  there  you  are! 
(Tries  each  one  tzco  or  three  times.  Leaves  them 
standing.)  Well,  Deeno,  set  those  dolls  out  of  the  way 
and  bring  up  your  wheelbarrow.  (Deeno  does  so. 
They  put  one  Jack  into  the  barrow.  Deeno  zvheels  him 
azvay.  Santa  lifts  and  carries  off  one  of  the  dolls,  the 
curtain  falls.) 

directions. 

Let  the  stage  be  set  like  the  diagram.  No.  1  is  a 
trumpet  vine,  made  of  branches  fastened  to  the  rear 
wall  or  curtain,  like  a  vine,  with  a  few  tin  trumpets, 
and  many  to  simulate  them  of  cardboard,  sticking  out 
on  the  vines  like  blossoms. 


YULETIDE   ENTERTAINMENTS.  91 

No.  2  is  a  tree  as  large  as  is  feasible,  with  large 
buds  of  green  tissue  paper,  some  closed,  others  parted 
and  showing  small  drums  in  the  center. 

Directions 


\     ■\-6     4-7    +5 

1           ^2.             1 

IcJ 

The  leaves  forming  these  buds  should  be  a  pointed 
oval  in  shape,  and  vary  in  size  as  they  represent  buds 
or  open  flowers.  The  drums  hang  down  from  the 
branches  and  the  petals,  when  open,  hang  over  and 
partly  cover  them.    See  Fig.  1. 


F/g.J 


No.  3  is  another  tree  hung  with  bright-colored  balls 
of  tissue  paper,  representing  candies. 

Nos.  4  and  5  are  clusters  of  branches  arranged  to 
look  as  if  growing,  and  about  three  feet  high,  hung 
with  balls  of  various  kinds  and  colors. 

Nos.  6,  7  and  8  are  three  little  girls  who  are  dressed 
to  represent  French  dolls.  They  stand  in  a  row  facing 
the  audience.  At  either  end  of  the  row  is  a  frame  to 
support  the  cheesecloth  or  mosquito  netting  which  cov- 
ers them  all  over,  until  Santa  is  ready  for  them.  Their 


92  YULETIDE   ENTERTAINMENTS. 

part,  of  course,  is  to  stand  stiffly,  like  dolls,  not  turning^ 
their  heads,  and  with  their  arms  held  out  in  front  like 
the  small  china  dolls.  One  is  to  say  "Papa"  and 
"Mamma"  when  the  signal  is  given  her. 

No.  12  is  a  row  of  flower  pots  or  boxes,  in  which 
appear  to  be  growing  the  doll  plants.  These  are 
branches  which  stand  about  eighteen  inches  high,  with 
buds  made  of  tissue  paper,  like  those  on  the  drum  trees. 
These  buds  conceal  as  many  dolls  as  can  be  hung  on 
the  plants,  some  large,  some  smaller. 

No.  13  is  a  similar  row  of  plants  similarly  arranged, 
on  which  are  fastened  the  various  dishes  of  tea  sets. 

_  Nos.  9,  10  and  11  are  boxes  about  two  feet  high  and 
eighteen  inches  square  (or  of  the  size  to  accommodate 
small  boys  stooping).  These  boxes  have  paper  leaves 
around  them.  The  boys  should  be  dressed  like  Jacks- 
in  the  box,  with  frizzly  hair,  grotesquely  painted  faces, 
etc.  Their  part  is  to  remain  hidden  in  the  boxes  till 
Santa  opens  them  (they  should  be  provided  with 
stools  to  sit  on  or  they  cannot  keep  still.)  ;  then  to 
spring  up  suddenly  and  remain  standing  until  shut  in 
again. 

COSTUMES. 

Santa  Claus  wears  the  traditional  costume,  and 
Deeno  may  be  short  and  fat,  or  tall  and  very  thin.  He 
wears  blue  overalls  and  a  broad-brimmed  hat,  and  a 
fringe  of  white  whiskers  around  his  face. 


YULETIDE   ENTERTAINMENTS. 


SANTA  CLAUS  IN  MANY  LANDS. 

For  Tzcenty  Characters — Six  Girls,  Nine  Boys,  Four 
Little  Children  and  One  Adult. 

America 
Hindustan 
China 
Scotland 

Irel^  ND  I- Boys 

Russia 
Indian 
Philippine 
Esquimau 

France 
Germany 

J>P^^N  [ Girls 

England 

Spain 

Italy 

Santa  Claus,  An  Adult. 

Four  Little  Children. 

This  is  good  to  introduce  a  school  Christmas  tree. 
At  the  close  of  the  play  let  Santa  Claus  distribute 
the  gifts  -with  the  help  of  the  various  characters. 

If  desired,  the  number  participating  can  be  doubled 
by  having  a  boy  and  a  girl  for  each  country.  Or,  the 
number  can  be  reduced  by  omitting  some  of  the  char- 
acters and  the  lines  referring  to  them.  As  the  stanaas 
are  not  of  set  length  they  can  easily  be  reduced  or 
combined.    Costumes  at  end  of  the  play. 

America  enters — 

Christmas  is  coming.    How  glad  I  am 
That  I  Hve  where  there  is  an  Uncle  Sam. 
I  suppose  it  is  Christmas  everywhere, 
But  for  some  Christmases  I  wouldn't  care. 


W  YULETIDE   ENTERTAINMENTS. 

It  can't  be  jolly  in  Hindustan, 

For  there  it  is  never  what  /  would  plan. 

Hindustan  enters — 

No  country  is  quite  so  good  as  mine 
Where  Buddha  and  Brahmin  rule  and  shine. 
We  follow  their  birthdays  all  the  year, 
And  many  a  feast-day  comes  to  cheer. 
Is  Santa  Claus  Brahmin?  I  do  not  know. 
Is  Christmas  Buddha?  Where  does  it  go? 

{To  America.) 
Why  do  you  seem  to  love  him  so  ? 
And  what  is  Christmas,  I'd  like  to  know? 

Germany  enters — 

Our  own  is  the  dearest  Fatherland 

Of  any  that  there  can  be. 
Kriss  Kringle  brings  toys  to  all  who  are  good, 
With  cakes  and  sweetmeats  and  all  nice  food, 

And  the  beautiful  Christmas  tree. 
And  always  we  in  dear  Germany 
Are  glad  when  the  Christ-child  comes. 
He  leaves  fine  gifts  and  brings  much  joy 
To  every  good  little  girl  and  boy 

In  all  the  dear  German  homes. 

China  enters — 

Melican  Santa  Claus  velly  big  Joss. 

Me  sabe  (pronounced  "sabby")  him,  me  likee. 

He  tellee  me  allee  time  bling  toys  when  me  good, 

Me  likee,  me  be  good  allee  time.    Sabe? 

My  countlee  (country)  wc  hab  plenty  big  Joss 

No  same  like  Melican  Santa. 

Santa  tellee  me  be  good  all  time,  to  ev'Iy  body. 

Me  sabe  him.   Me  likee. 

France  enters — 

Maybe  your  wonderful  Christmas  time 
Is  not  quite  alike  in  every  clime, 


YULETIDE   ENTERTAINMENTS.  95 

But  here,  in  beautiful,  sunny  France 
It  brings  us  music  and  many  a  dance, 

(Whirls  and  dances  through  these  two  lines.) 

With  feasting-  and  calHng  on  each  dear  friend, 
With  pleasure  and  jollity  without  end. 

(Bows,  curtseys  back  to  place,  throwing  kisses.) 

Ireland  enters — 
Ould  Scotland  has  her  heather, 
An'  England  has  her  rose, 
But  Ireland  has  her  shamrock  green, 
The  darlin'est  thing  that  grows. 
An'  to  you  now,  ould  Santy, 
We  bring  the  shamrock  dear. 
It  manes  good  luck  to  ivery  wan, 
An'  good  luck  all  the  year. 
An'  whin  'tis  Christmas  comin' 
Wid  all  its  games  an'  toys. 
Oh,  thin  'tis  sure  the  shamrock  land 
Is  best  fur  gurruls  an'  boys. 

Eskimo  enters — 
It  is  cold  and  beautiful  where  I  live. 
No  place  can  be  quite  so  good ; 
But  the  things  I  hear  about  today 
I  have  not  quite  understood. 
But  Santa,  you  say,  loves  children  well. 
And  I  hope  he'll  visit  me, 
For  my  country  lies  along  his  way 
When  he  comes  from  the  Arctic  sea. 
Come  bring  my  people,  Santa  dear, 
The  happy  times  they  tell  of  here. 

Russia  enters — 
Midst  the  great  white  snows  of  our  great  white  land 
Live  hundreds  of  boys  and  girls, 
And  Christmas  time  brings  us  many  a  joy 

>     As  the  snow  and  the  storm  wind  whirls. 


y6  YULETIDE   ENTERTAINMENTS. 

No  Christmas  tree,  but  a  gathering  great 
Of  friends  by  the  warm  house  fire, 
With  games  and  giving, — oh !  Christmas  time 
Is  the  Russian  child's  desire. 

England  enters — 
Christmas  is  coming  in  England  dear. 
'Tis  the  gladdest  time  of  all  the  year ; 
With  the  big  boar's  head,  with  the  pudding  ablaze^ 
'Tis  the  merriest  one  of  all  our  days. 
The  Waits  are  singing — the  Mummers  shout, — 
In  the  great  cathedrals  the  bells  ring  out. 
For  rich  and  poor,  for  young  and  old, 
The  Christmas  message  is  sung  and  told. 
''Peace,  peace  on  earth,  good  will  to  men," 
We  love  to  sing  it  each  year  again. 

Scotland  enters — 

In  bonnie  Scotland,  our  own  rugged  land, 

Where  moors  and  mountains  are  so  wild  and  grand, 

We  go  most  soberly  to  our  dear  kirk 

And  hear  the  sermons — rather  serious  work 

For  us  it  is  sometimes — but  still  we  love 

To  hear  the  story  of  the  Lord  above. 

No  Christmas  tree  we  have,  but  quiet  giving. 

We  trust  to  goodness  in  our  daily  living. 

Ireland — 

(Speaking  to  England  and  Scotland  as  he  joins 
them.) 

We're  cousins — the  three  of  us — what  do  we  care 
How  different — or  same — are  our  countries,  they're 

fair 
To  each  of  us.    Isn't  it  so?  Then  hurrah! 
Hurrah  for  ould  Christmas,  whoever  we  are! 

Spain  enters — 

In  sunny  Spain  we  celebrate  with  flowers ; 
The  sweet  guitar  with  music  fills  the  hours. 


YULUTIDE   ENTERTAINMENTS.  97 

We  do  not  have  a  tree ;  in  hall  or  street 
Our  gifts  are  given  to  the  friends  we  meet. 
Chrislnias  is  gay  for  ns  in  suimy  Spain, 
We're  always  glad  when  gift-time  comes  again. 

Italy  enters — 

The  sun  shines  fair  upon  our  Italy  , 

And  gives  its  gold  to  everything  we  see. 

And  when  the  blessed  Christ-child  comes  each  year 

We  worship  him,  and  beg  that  he  will  hear 

And  bless  us  as  we  kneel,  and  so  we  know 

We  shall  be  happy  everywhere  we  go. 

And  when  again  our  homes  we  reach,  there,  piled, 

Are  lovely  things  sent  by  the  holy  child. 

Japan  enters — 

Our  holy  Buddha  has  a  birthday,  too, 
A  sacred  day  it  is.   The  children  strew 
The  lovely  flowers  all  along  the  way, 
And  chant  the  legends  of  that  holy  day. 
All  have  new  robes,  and  every  girl  and  boy 
Wish  for  their  elders  greatest  peace  and  joy, 
And  then  receive  sweet  cakes  and  cups  of  tea. 
No  children  anywhere  more  blest  could  be. 

Philippine  enters — 

They  come  to  our  islands  far  beyond  the  seas 
And  tell  us  of  such  lands  and  tribes  as  these. 
They  teach  us  words  like  "peace,"  "to  men  good 

will," 
And  show  us  what  it  is  to  drive  and  kill. 
I  can't  quite  understand  the  things  they  say, 
It  seems  to  me  a  very  curious  way  ; 
But  these  are  children  just  like  me,  and  so 
They  have  good  times  in  their  own  lands,  I  know. 
If  Santa  Claus  can  make  me  glad  like  these. 
And  bring  such  ways  to  us  beyond  the  seas, 
I'm  ready  now  to  follow — love  him,  too, — 
And  then  perhaps  I'll  know  just  what  is  true. 


98  VU  LET  IDE  ENTERTAINMENTS. 

Know  what  it  means  to  hear  now  and  again 

Such  words  as  "love"  and  "peace,  good  will  to  men." 

Indian  enters — 

(Walks  slozi'ly  to  his  place,  folds  arms,  looks  about 

him,  speaks  slozvly.) 

Yon  speak  too  many  words.    All  spirits  good 
Will  love  all  children  dv^elling  in  the  wood 
Or  tepees  of  the  land.   They  take 
Great  care  of  all  deserving  ones,  and  make 
Them  wise  and  great.   Your  toys  we  do  not  need. 
Still,  if  there's  a  children's  saint,  indeed, 
He  might  at  Christmas  time  to  us  come  round. 
The  tales  these  tell  (pointing  around)    have  quite  a 
pleasant  sound. 

Children — 

(Rush  ill  pulling  Santa  Claus  zvith  them,  tzvo  at 
each  hand.  Others  may  be  with  them  to  any  desired 
number.) 

Santa — 

In  every  land  the  little  children  dwell. 

And  all  of  them  are  mine ;  I  love  them  well. 

Some  call  one  day  each  year  the  Christmas  day. 

And  celebrate  with  joy.    And  some  lands  say 

That  other  days  are  best ;  yet  every  child 

Who's  good  and  kind,  with  tender  hearts  and  mild 

To  help  another's  pain,  or  comfort  tears, 

That  child  keeps  Christmas  day  all  through  the  years. 

All,  all  are  mine.   In  every  land  or  creed. 

Who  love  to  help  another's  want  or  need. 

(Children  dance  around  Santa  Claus  singing.) 

Tunc:  "For  He's  a  Jolly  Good  Fellow." 

Santa  Claus  has  brought  us  Christmas, 
Santa  Claus  has  brought  us  Christmas, 
Santa  Claus  has  brought  us  Christmas, 
Hurrah  for  Christmas  day! 


YULETIDE   ENTERTAINMENTS.  99 

{All  the  characters  join  hands  and  skip  around 
Santa  Claus,  singing  together.) 

Hurrah  for  Christmas  day ! 

Hurrah  for  Christmas  day! 
Santa  Claus  has  brought  us  Christmas, 
Santa  Claus  has  brought  us  Christmas, 
Santa  Claus  has  brought  us  Christmas, 

Hurrah  for  Christmas  day ! 

CURTAIN. 
DIRECTIONS. 

As  each  character  enters  and  speaks,  let  him  use  ges- 
tures or  actions  according  to  his  words.  This  must  be 
left  to  the  judgment  of  the  one  in  charge. 

COSTUMES. 

Santa  Claus — Traditional  red  suit  and  cap,  long 
whiskers,  etc. 

Four  Little  Children — Any  pretty  dress. 

America — Modern  dress. 

Hindustan — White  robe  with  loose  sleeves.  This 
reaches  to  the  feet.   Wide  white  belt,  white  turban. 

Ireland — Green  stockings,  low,  buckled  shoes,  gray 
knee  trousers,  white  blouse  waist,  green  tie,  gray  jacket. 

Eskimo — Trousers,  jacket  and  pointed  hood  of 
fur.  Cotton  flannel  with  the  fuzzy  side  out  answers 
very  well. 

Indian — Moccasins,  brown  overalls  with  a  pleat  laid 
on  the  outside  of  the  leg,  thus  fitting  it  as  close  as  is 
convenient.  Over  this  pleat  is  a  fringe  of  brown  leather 
or  tan  cotton.  Bright  blanket  over  the  shoulders.  Red 
band  around  the  head,  with  feathers  standing  up  in  it. 
Long  black  hair,  painted  face. 

Scotland — Highland  dress  ;  plaid  kilt  and  stockings, 
low  shoes,  dark  jacket  and  red  or  plaid  sash  over  the 
shoulder ;  fur  pouch  in  front ;  Scotch  cap. 


100  YULETIDE   ENTERTAINMENTS. 

China^ — Wide,  loose  trousers  and  blouse  of  dark 
blue,  round  cap  of  blue  or  black,  with  red  button  on 
top ;  "pigtail"  and  slanting  eyes. 

France — Fancy  pink  and  blue  frilled  dress,  arms 
and  neck  bare,  slippers. 

Philippine — Close  fitting  waist  and  tights  of 
brown,  hands  and  face  brown,  woolly  wig.  Skirt  of 
rafifia  or  grass  reaching  to  the  knees.  Beads  around 
the  neck ;  carries  a  spear. 

Germany — Blue  skirt  to  ankles,  white  waist,  black 
bodice,  Dutch  cap  with  flaps  turned  back  from  the 
face,  long  flaxen  braids. 

Japan — Gay  kimono  and  sash,  hair  dressed  high 
with  tiny  fans  stuck  in  it. 

Spain — Yellow  dress  with  black  bands  around  it, 
black  bodice,  large  gay  fan,  hair  dressed  with  high 
back  comb  and  large  red  roses  below  each  ear. 

Italy — Green  skirt  with  bands  of  bright  trim- 
ming, white  waist  and  apron,  black  bodice.  Hair  in 
braids  with  white  headdress,  which  is  a  band  of  muslin 
six  or  seven  inches  wide  and  sixteen  to  eighteen  inches 
long,  one  end  pinned  on  top  of  the  head,  the  other 
falling  behind. 

Russia — High,  fur-trimmed  boots,  dark  skirt  and 
jacket  and  cap,  all  trimmed  with  fur. 

England — A  fair  child  with  delicate  features.  Mod- 
ern dress. 


YULETIDE   ENTERTAINMENTS.  101 

THE  SPIRIT  OF  CHRISTMAS. 

A  Sketch. 

For  Eight  Characters — Four  Males,  Four  Females. 

CHARACTERS. 

Mr.  Radcliff'^ Bachelor  of  35,  or  Thereabouts 

Bob The  Janitor's  Boy 

Bill Who  Brings  Home  His  Suit 

Jimmy Mr.  Radcliffe  as  a  Boy 

Miss  Dayton Lady  in  the  Late   Tzventies 

Gretchen  German  Maid 

Annette Washzvoman's  Child 

Kitty Miss  Dayton  as  a  Girl 

Scene:  Interior  of  Miss  Dayton's  room.  Table 
li'ith  books  and  sezi'ing  upon  it,  two  chairs  and  a  lounge, 
etc.   Miss  D.  sits  reading. 

Miss  Dayton  (puts  down  book,  yazvns).  Heigh-ho! 
What  a  dreary  day !  Cold  as  Greenland,  and  raining  as 
well.  If  I  had  my  way  in  the  making  of  the  world  we 
never  would  have  had  such  days  as  this.  (Knock  at 
door.)    Come  in. 

Enter  Gretchen  n'ith  letters. 

Gretchen.     Some  letters,  Miss  Dayton. 

Miss  D,     Very  well,  Gretchen.    Put  them  on  the 

table. 

Gret.  (picking  up  scraps,  dusting,  etc.,  as  she  talks). 
It  vas  a  nice  day,  ]\Iiss  Dayton. 

Miss  D.     /  think  it  is  a  horrid  day,  Gretchen. 

Gret.  Nein,  Aliss  Dayton.  It  vas  by  Christmas  day. 
(Smiles  broadly.) 

Miss  D.  What  is  that  to  me,  Gretchen,  or  to  any 
sensible  person,  for  that  matter? 

Gret.  (astonished).  Und  you  don'd  like  Christmas, 
Miss  Dayton? 


102  YU  LET  IDE   ENTERTAINMENTS. 

Miss  D.  Christmas  is  nothing-,  Gretchen.  Nothing 
at  all.  Just  a  day  for  silly  people  to  spend  money  on 
foolish  things,  and  other  people  to  be  bored  with  their 
foolishness.    You  don't  catch  me  joining  in  any  of  it. 

Gret.  (aghast).  But  it  vas  Merry  Christmas,  Miss 
Dayton. 

Miss  D.  (snappishly).  "Merry  Christmas!"  And 
what  have  I  to  be  merry  about.  I'd  like  to  know? 

Gret.     Don'd  you  haf  a  fader.  Miss  Dayton? 

Miss  D.     Dead,  long  ago. 

Gret.  Und  a  mudder?  Und  some  brudders?  (Puts 
apron  to  her  eye.)  Ach  himmel !  It  makes  me  cry.  I 
don'd  haf  'em  so  long  alretty  yet. 

Miss  D.  Oh,  for  goodness  sake,  Gretchen !  Stop ! 
I  haven't  a  living  soul  who  cares  whether  I  live  or  die. 
And  I  don't  want  to  have,  if  the  price  of  them  must 
be  this  nonsense  about  Christmas.  If  ever  there  was 
a  heathen  custom  carried  out  without  cause  or  reason, 
this  one  of  Christmas  is  the  one.   Don't  talk  to  me. 

Gret.  Und  you  don'd  half  der  Christmas  kuchen? 
Und  der  ribbons?  Und  der  dinner?  Und  der  Christ- 
mas heim-lied?   Ach,  Miss  Dayton!  It  vas  all  so  dear. 

Miss  D.  (angrily).  No!  I  tell  you.  No!  (After  a 
pause,  zvearily.)    Plow  much  you  talk. 

Gret.  (pitifully) .  Some  of  mein  Christmas  kuchen 
comes  to  you,  Miss  Dayton,  and  then  you  vill  not  so 
lonely  be. 

Miss  D.  I  don't  want  it,  Gretchen.  I  don't  want  it. 
Why  do  you  bother  me  so?  (Takes  up  book.)  Can't  you 
see  I'm  reading?  Go  and  have  your  old  Christmas 
cakes,  if  you  want  them ;  but  let  me  alone.    (Reads.) 

Gret.  (backing  to7vard  the  door  and  speaking  tim- 
idly). Und  you  don'd  gif  nottings  on  Christmas?  (No 
anstver.  She  goes  slozvly  out,  turns  at  the  door,  and 
says.)  Tomorrow  vas  Christmas.  (No  answer.  Goes 
out  slozvly,  putting  one  eye  to  the  crack  of  the  door 
and  looking  long  at  Miss  D.  before  she  softly  closes 
it.  Miss  D.  continues  reading.   Knock  at  the  door.) 


YULETIDE   ENTERTAINMENTS.  103 

Miss  D.  Come  in.  (Annette  enters,  poorly  dressed. 
Carries  a  large  basket  of  laundry.)  Oh,  it's  yon, 
Annette. 

Annette.  Please,  Miss  Dayton,  here's  yer  washin,' 
an'  Maw  says  cud  ye  be  afther  payin'  her,  'cos  termor- 
rer's  Cliristmas. 

Miss  D.  Certain!}'.  Here's  your  money.  (Pays 
her.)  But  surely  your  mother  won't  be  so  foolish  as  to 
spend  her  money  on  Christmas  nonsense. 

Annette  (smiling).  Aw  yis,  miss.  We  do  be  goin' 
ter  have  Christmis  to  our  house — an'  stockin's  hangin' 
by  the  chimljly — an'  candy  in  'em,  an'  sich.  An'  mebby 
sumpin'  nice — m — m !  (Nods  her  head  and  smiles 
knowingly.) 

Miss  D.  (sternly).  Now,  Annette,  that  is  actually 
wrong.  When  a  woman  has  to  work  as  hard  as  your 
mother  does  to  support  seven  children,  it's  worse  than 
folly.  It's  wicked  to  buy  Christmas  presents.  As  to 
Santa  Claus,  there  isn't  any  such  person,  as  of  course 
you  know.  I  really  think  I  shall  make  it  my  business 
to  see  your  mother  myself,  and  see  if  I  can't  stop  such 
wasteful,  useless  doings. 

Annette  (ivith  a  zcail).  Aw  Miss  Dayton!  Now, 
don't  yer  be  doin'  that !  Not  have  Christmis  ?  Aw ! 
Yer  don'  know  what  fun  it  be !  Not  have  Christmas ! 
Aw  Miss  Dayton!  Let  us  be,  can't  yer?  (Hides  her 
face  in  her  apron  and  sobs.) 

Miss  D.  Now,  Annette,  stop  tliis  at  once.  You  are 
a  very  silly  child,  indeed.  I'm  quite  surprised  at  you. 
Here's  your  money,  and  when  you  get  home  you  tell 
your  mother  she  is  not  to  spend  it  for  Christmas  non- 
sense.   Do  you  hear?    (Resumes  her  reading.) 

Annette  (goes  dejectedly  to  the  door,  but  opens 
it  again  after  she  has  gone  out,  and  puts  her  head  in, 
calls.)  Christmis  gif!  (No  ansiver — a  pause.)  Christ- 
mis gif,  Miss  Dayton. 

Miss  D.  Run  along,  child.  No.  No  Christmas  gifts 
from  me.    I  don't  approve  of  them  at  all.    (Resumes 


104  YULETIDE   ENTERTAINMENTS. 

the  reading  of  her  letter.  Annktte  goes.)  Of  all 
things !  Here's  a  letter  from  the  ladies  of  the  church 
asking  me  to  help  with  their  Christmas  tree  for  poor 
children.  1  think  I  see  myself !  It  is  no  l3etter  than  a 
bid  for  pauperism.  All  nonsense!  No  indeed!  Not  I. 
(Reads  other  letter.)  And  if  here  isn't  more  of  the 
same !  j\Ir.  Fletcher  wants  me  to  help  a  poor  woman 
with  four  children  so  she  can  have  Christmas.  The 
idea !  As  if  there  was  nothing  to  use  one's  money  for 
but  buying  toys  and  candy  and  such  nonsense.  {Lets 
letter  drop  in  her  lap.   Seems  to  he  thinking.   Silence.) 

CURTAIN. 

Scene  II:  Interior  of  Mr.  Radcliffe's  room.  Table, 
chairs,  conch,  clothes  scattered  over  the  room.  Mr.  R. 
is  sitting  reading  the  paper,  his  feet  on  a  chair.  He 
puts  paper  dozvn,  yazvns,  resumes  paper. 

Mr.  Radci-IFFE.  Jupiter !  What  a  wretched  day ! 
Cold  and  rainy  outside  and  stupid  and  tiresome  inside. 
(Knock.)    Come  in.    Oh,  it's  you,  is  it.  Bob? 

Bob  (briskly).  Yessir.  It's  me,  sir.  Here's  yer  mail, 
sir. 

Mr.  R.  Toss  'em  over,  then.  (Drops  paper,  takes 
letters.)    Beastly  day. 

Bob  (picking  up  Mr.  R.'s  paper  from  the  floor,  set- 
ting chairs  straight,  etc.)  Oh,  no,  sir.  Fine  day,  sir. 
Most  Christmas,  sir. 

Mr.  R.  (sharply).  What  of  it,  then?  What  if  it  is 
most  Christmas? 

Bob  (surprised) .  W'y,  sir!  Ev'rybody's  glad  w'en 
Christmas  comes. 

Mr.  R.  I'm  not.  Why  should  I  be  glad?  Tell  me 
that. 

Bob.     W'y— Mr.    Radcliffe!     W'y— jes'— 'cos— it's 

Christmas. 

Mr.  R.  (sifting  up  suddoily).  And  what's  Christ- 
mas?   Just  a  chance   for  some  fools  to  spejid  other 


YULETIDE   ENTERTAINMENTS.  105 

fools'  money.  {Pounds  table.)  All  foolery,  I  tell  you! 
All  foolery ! 

Bob  (protesting).  Oh,  Air.  Radcliile !  Xo,  sir! 
Leastways  not  as  I  ever  see.  We're  glad  at  Christmas, 
sir — and  give  things,  sir,  an'  gets  'em — an'  we  feels 
kind  to  everybody,  sir — that's  Christmas,  sir. 

]\Ir.  R.  (pounds  table  so  suddenly  Bob  jumps).  Don't 
contradict  me,  sir!  Do  you  hear?  Don't  contradict  me. 
I  said  it  is  all  foolery,  and  it  is.  (Bob  promptly  de- 
parts.) And  this  fellow  proves  it  when  he  talks  as  he 
does.  "Get  'em  !"  Of  course.  That's  all  they  want — to 
"get"  things.  "Feel  kind?"  Slush  !  (Puts  feet  on  table, 
takes  paper.  Knock  at  door.)  Come  in.  What  is  it? 
(Small  boy,  Bill,  zvith  very  large  bundle.) 

Bill.     Here's  yer  suit,  sir.    From  the  cleaners. 

I\Ir.  R.  Set  it  down.  (Resumes  reading.  Bill  puts 
down  the  suit  and  waits,  lifter  a  moment  Mr.  R.  looks 
over  his  paper.)    Well,  what  are  you  waiting  for? 

Bill.  Please,  my  paw — he  says  he'd  like  the  pay, 
'cos  termorrer's  Christmas.  An'  here's  the  bill.  (Of- 
fers it.) 

j\Ir.  R.  (sarcastically).  I'll  warrant  he'd  like  the 
pay.  And  he  can  have  it.  But  what  in  thunder  does 
Christmas  have  to  do  with  it? 

Bill  (backing  hastily  azuay  and  putting  the  bill  be- 
hind him.)  Please — we're  to  have  a  tree;  a  little,  nice 
tree.  An'  paw — he'd  like  the  pay  'cos  (eagerly)  I'm  to 
have  a  dandy  knife,  an'  maw  "11  have  a  new  dress,  an' 
a  pot  o'  posies — and  little  Sis'll  have  a  new  dress,  an' 
have  candy,  too ;  an' — an'  it's  Christmas ;  a  Christmas 
tree,  sir. 

Mr.  R.  Here.  Take  it  and  get  out.  (Bill  goes 
hastily.)  They  are  all  fools  together,  and  a  fool  and 
his  money  belong  to  the  Christmas  crowd.  (Boy  puts 
head  in  and  says  timidly.) 

Bill.  Christmas  gif,  please.  (Dodges  out  as  Mr. 
R.  throzvs  tlie  paper  at  him.) 


106  YULETIDE   ENTERTAINMENTS. 

Mr.  R.  Thunderation !  Are  we  to  be  pestered  by 
gifts,  too?  Not  if  I  know  it.  (Lies  back  in  his  chair 
again.)  It's  a  beastly  day.  (Sees  letters,  opens  one.) 
I  forgot  these.  (Glances  over  it.)  Here's  another  fool. 
That  Phil  Warner  wants  me  to  come  to  Christmas  din- 
ner. I  look  like  going  to  a  Christmas  dinner  now,  don't 
I  ?  (Sarcastically.)  Oh,  yes  !  I'm  the  kind  that'll  go  and 
admire  the  babies,  and  let  them  climb  all  over  me — and 
see  them  spoiled  with  this  fol-de-rol  about  Christmas ! 
No,  thanks,  old  boy.  I  have  an  appointment  elsewhere. 
(Takes  up  other  letter,  reads,  slams  it  dozvn.)  Is  every- 
body Christmas  crazy?  Here's  the  minister  of  the 
church  yonder  asks  me  to  contribute  to  their  Christmas 
tree  for  poor  children.  Now,  that's  a  little  too  much! 
I  may  be  easy,  but  I'm  not  ready  for  the  asylum, 
(Puts  feet  on  the  table,  lies  back  in  his  chair,  puts 
handkerchief  over  his  face.   Silence.) 

CURTAIN. 

Scene  III :  When  the  curtain  is  draivn  again  it 
shozvs  Mr.  R.  seated  at  front  and  extreme  right  of 
the  stage,  facing  the  center,  zvith  his  feet  up  and  his 
handkerchief  over  his  face  as  at  close  of  last  scene. 
At  the  front  and  extreme  left  of  the  stage,  and  facing 
center,  is  Miss  Dayton,  asleep  in  her  chair,  as  at  close 
of  Scene  I.  Between  them,  and  set  back  a  little  from 
the  front,  is  a  space  eight  feet  zvide  by  four  or  five  feet 
deep,  curtained  around  zvith  gray.  For  the  best  effect 
a  gray  gause  should  be  stretched  before  this  space, 
though  it  is  not  a  necessity.  Another  smaller  curtain 
hangs  before  this  space,  and  is  drazvn  aside  for  each 
of  the  dreams.  Here  are  presented  the  tableaux  rep- 
resenting the  dreams  of  the  sleepers.  Allozv  less  than 
a  minute  to  each  dream. 

Dream  I — A  boy  and  a  girl  are  walking  together. 
They  are  in  outdoor  garments,  and  he  is  offering  her 
an  apple,  which  she  is  about  to  take  shyly. 


YULETIDE   ENTERTAINMENTS.  1&7 

Dream  II~The  same  children.  The  boy  is  puUing 
a  sled  on  v.hich  the  girl  sits.  He  is  looking  back  at 
her,  and  she  is  laughing. 

Dream  III — The  same  children.  Indoor  scene  and 
dress.  The  boy  is  bringing  in  an  armful  of  Christmas 
greens.  The  girl  holds  up  to  him  the  wreath  of  holly 
and  berries  she  has  been  making. 

Dream  lY — The  boy  holds  a  piece  of  mistletoe  over 
the  girl's  head,  and  is  just  ready  to  kiss  her,  while  she 
laughingly  holds  the  Christmas  wreath  between  them. 

OUTER    CURTAIN. 

Scene  IV:  When  the  curtain  is  again  drawn,  it 
shows  a  high  screen,  or  a  curtain  through  the  middle 
of  the  stage  from  rear  to  front.  On  the  right  side  of  this 
screen  from  the  audience  sits  Mr.  Radcliffe,  asleep 
as  he  zcas  during  the  dream  pictures,  and  on  the  left 
side  it  shozvs  AIiss  Dayton,  asleep  as  she  zvas  then. 
Reproduce  as  much  of  the  original  rooms  as  possible 
in  the  space.  She  rouses,  sits  up,  looks  about  her  with 
a  bezvildered  air.   Mr.  R.  remains  asleep. 

Miss  D.  How  strange !  It  must  have  been  a  dream, 
yet  it  was  so  real.  (Leans  head  on  hand.  Speaks 
musingly.)  I  wonder  where  Jimmy  is  now.  We  used 
to  be  close  chums  for  a  long  time.  And  what  romps 
we  used  to  have  at  Christmas  time.  (Silent  a  moment.) 
Why !  This  is  Christmas  Eve !  Oh !  I  remember  that 
Gretchen  talked  about  it.  Poor  Gretchen !  I'm  afraid 
I  was  cross.  No,  I  was  rude — just  plainly  rude — to  her 
because  she  was  glad  Christmas  was  here.  Jimmy  al- 
ways used  to  be  so  jolly  at  Christmas,  and  so  kind.  I 
wish  Gretchen — (thinks  a  moment.)  And  there's  An- 
nette !  I  was  worse  than  cross  to  her.  I  was  unkind. 
I  wish — (rises) — well — I'm  old  and  lonely — and  I've 
been  rude  and  unkind — but  Christmas  isn't  over  yet, 
and  perhaps  I  can  make  it  brighter  for  some  of  them. 


108  YULETIDE  ENTERTAINMENTS. 

I'm  going  out  to  get  some  things  for  Gretchen  and 
Annette.    (Looks  out  of  the  zvindozv.)   It's  raining  still, 
but  what  do  I  care !    (Puts  on  ivatcr proof  cloak  and 
her  hat;  takes  umbrella.)    It's  fun  to  be  out  in  the  rain. 
Jim-my  and  I  used  to  love  to  go  out  in  the  rain.   Oh !  I 
forgot  my  rubbers.    (Begins  to  put  tlieni  on.)    How 
nicely  Jimmy  used  to  put  mine  on  for  me.    My  feet 
were  smaller  then.    (Looks  at  her  feet  and  smiles.) 
What  fun  we  used  to  have  at  Clu-istmas  !  (Hurries  out.) 
Mr.  R.   (rouses^  pulls  handkerchief  from  his  face, 
takes  feet  dozvn,  sits  up  and  stares  about  him,  exclaim- 
ing) Why,  Kitty!  Oh!  (Disappointedly.)    It  must  have 
been  a  dream,  but  it  seemed  so  real.     (Leans  elbow 
on  chair  arm  and  head  on  Jiaud.)    Say!  But  she  was  a 
pretty  girl !  And  jolly,  too !  And  didn't  she  love  Christ- 
mas?   ^\'hat  larks  we  used  to  have!  We  two — with 
the  Christmas  trimmings  and  the  mistletoe.    (Sits  up 
suddenly.)    And  it's  Christmas  time  now!  What  fun! 
(Drooping  dejectedly.)    But  that  was  long,  long  ago. 
And  I'm  growing  old,  and — I  think — I'm  crusty  and 
mean  as  well.  Yes,  a  crusty,  mean  old  bachelor.  That's 
what  I  am.   How  I  did  act  to  those  boys  this  morning ! 
Poor  little  chaps!    (Starts  to  his  feet.)     But  there's 
time  to  get  straight  again.    It's  Christmas  Eve !    (Ex- 
citedly.) Hurrah  !  (Hurries  on  his  hat  and  coat,  catches 
up  on  umbrella.)     I'll  make  it  all   right.    They  shall 
have  their  Christmas  from  me  )^et!    (Rushes  out.) 

CURTAIN. 

Scene  IV :  Miss  D.  enters  at  left,  Mr.  R.  at  right. 
Both  have  umbrellas  held  in  front  of  them  zvith  heads 
bent  dozvn  as  if  zvalking  against  a  zvind,  and^  hurry 
ahead.  They  run  into  each  other,  start  back,  lift  um- 
brellas. 


YULETIDE  ENTERTAINMENTS.  109 

Mix.  R.  I  beg-  pardon,  Madam.  I  didn't  see  you. 
I'm  out  for  some  Christmas  shopping — 

Miss  D.  No  apologies  needed.  I  am  on  the  same 
errand — in  memory  of  many  years  ago. 

INIr.  R.  (eagerly).  That's  my  case,  JMadam — many 
years  ago — (stops,  lifts  hat).  I  beg  pardon,  I  forgot 
myself. 

Miss  D.  (bozchig  and  starting  to  go).  Good  even- 
ing, and  a  merry  Christmas  to  you. 

Mr.  R.  A  merry  Christmas.  (They  pass,  then  both 
stop  and  each  looks  back  at  the  other.  He  comes  back.) 
You  may  think  me  a  little  out  of  balance — but  I  must 
ask  if  you  ever  knew  anyone  by  the  name  of  Day- 
ton? Kitty  Dayton,  she  used  to  be  when  I  knew 
her.  Your  way  of  saying  "Merry  Christmas"  made  me 
think  of  her. 

Miss  D.    That  is  my  name,  but  (doubtfully)  you—? 

Mr.  R.  (eagerly).  Did  you  ever  know  a  boy  named 
Jimmy  Radclifife?   Many  years  ago? 

Miss  D.  Indeed,  I  did.  Jimmy  and  I  were  good 
friends. 

JMr.  R.  /'/;/  Jimmy!  Aren't  we  good  friends  still! 
(Dropping  umbrella,  she  doing  the  same,  he  grasps 
both  her  hands.)  Oh,  Kitty!  I  mean — Miss  Dayton! 
I've  never  forgotten  you,  and  today  I  dreamed  I  was 
Jimmy  and  you  were  Kitty  again,  and  we  were  having 
our  Christmas  larks  together. 

Miss  D.  (eagerly).   So  did  I. 

Mr.  R.  And  I  had  been  beastly  to  some  poor  little 
chaps,  and  was  going  out  to  set  myself  straight,  if  I 
could,  and  play  Santa  Claus. 

Miss  D.  (laughing).  Oh,  Jimmy!  You're  the  same 
boy  still.  I've  been  lonely  and  cross,  too,  and  I  was 
coming  out  to  try  and  redeem  myself. 


no  YULETIDE   ENTERTAINMENTS. 

Mr.  R.  (picking  up  her  niubrclla,  closing  it  and  put- 
ting it  under  Jiis  arm;  tucking  her  hand  also  under  his 
arm  and  taking  his  ozvn  umbrella.)  Now,  this  is  real 
"comfy."  We'll  go  together.  It's  like  old  times.  This 
is  "merry  Christmas!"   What  a  lark!    {They  go  out.) 

CURTAIN. 

The  End, 


SOHGS  WORTH  WHILE 


For  School,  Home,  and  All  Kinds  of  Entertainments 

Price,   ^1.00 

A  collection  of  159  old  familiar  songs  that 
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Negro  spirituals,  songs  of  the  sea,  and  a  few- 
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Songs 

WORTH 
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open  flat,  size  7  by  10*4  inches,  with  a  stout  paper  cover  in  colors. 

Partial  Contents:  Ah!  I  Have  Sighed  to  Rest  Me;  Alice,  Where  Art 
Thou?;  A-Roving;  Believe  Me,  if  All  Those  Endearing  Young  Charms; 
Ben  Bolt;  Bold  Fisherinan;  Boola  Song;  Campbells  Are  Comin';  Co-Ca- 
Che-Lunk;  Come  Back  to  Erin;  Come,  with  Thy  Lute;  Comin'  thro'  the 
Rye;  Cousin  Jedediah;  Cruiskeen  Lawn;  Darling  Nelly  Gray;  Dear 
Evelina;  De  Camptown  Races;  Deep  River;  De  Golden  Wedding;  Drum 
Major  of  Schneider's  Band;  Faded  Coat  of  Blue;  Flow  Gently,  Sweet 
Afton;  For  He's  a  Jolly  Good  Fellow;  Gaily  the  Troubadour;  Girl  I  Left 
Behind  Me;  Good-bye  to  Summer;  Grandfather's  Clock;  Hail,  Hail!  the 
Gang's  All  Here;  Harp  That  Once  Thro'  Tara's  Halls;  Home,  Home,  Can 
I  Forget  Thee?;  I  Cannot  Sing  the  Old  Songs;  I've  Lost  My  Doggy; 
Juanita;  Killarney;  Kingdom  Comin';  Larboard  Watch;  Lily  Dale;  Listen 
to  the  Mocking  Bird;  Little  Brown  Jug;  Long,  Long,  Ago;  Mandolin 
Song;  Marseillaise;  McSorley's  Twins;  Michael  Roy;  Minka;  Mollie 
Darling;  My  Last  Cigar;  Oh,  Come,  Come  Away;  Oh,  Dem  Golden  Slip- 
pers!; Oh,  My  Darling  Clementine;  Old  Zip  Coon;  Over  the  Banister; 
Polly-Wolly-Doodle ;  Quilting  Party;  Reuben  and  Rachel;  Rocked  in 
the  Cradle  of  the  Deep;  Rumsty  Ho!;  Sally  in  Our  Alley;  See,  the 
Conquering  Hero  Comes;  Sleep,  Baby,  Sleep;  Soldier's  Farewell;  Solomon 
Levi;  Spanish  Cavalier;  Steal  Away;  Sweet  and  Low;  Sweet  Genevieve; 
Swing  Low,  Sweet  Chariot;  There  Is  a  Tavern  in  the  Town;  There's  a 
Meeting  Here  To-night. 


T.  S.DEIVJiSOtNJ    <S-  Co  (VI  »=»>»«.  fNI^»' 
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An  attractive  collcclion  of  thirty-two 
Christmas  carols,  hymns,  and  juvenile  songs, 
practically  all  being  old  favorites,  with  the 
addition  of  one  or  two  new  numbers.  Just 
what  teachers  and  musical  directors  need 
when  they  want  to  brighten  up  a  Christmas 
exercise,  play,  or  dialogue  with  an  appropri- 
ate song.  It  contains  a  fine  selection  of  song 
material  for  community  Christmas  tree  cele- 
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programs.  Each  selection  has  an  easy  and  practicable  accompani- 
ment. The  book  is  carefully  edited,  and  printed  on  a  good  quality 
of  paper,  well  bound  to  open  fiat,  with  pages  7  by  lOVi  inches, 
and  a  stout  paper  cover  handsomely  designed  in  two  colors. 

Contents:  Angels  From  the  Reahus  of  Glory;  As  With  Gladness  Men 
of  Old;  Away  in  a  Manger;  Brightest  and  Best  of  the  Sons  of  the  Morn- 
ing; Carol,  Brothers,  Carol;  A  Child  Is  Born  in  Bethlehem;  Christians, 
Awake!  Salute  the  Happy  Morn;  Christmas  Is  Here;  The  Christmas 
Tree;  Deck  the  Halls  With  Boughs  of  Holly;  The  First  Christmas;  The 
First  Nowel;  God  Rest  Ye,  Merry  Gentlemen;  Good  King  Wenceslas; 
Hang  Up  the  Baby's  Stocking;  Hark!  the  Herald  Angels  Sing;  Hark! 
What  Mean  Those  Holy  Voices?;  Jolly  Old  Saint  Nicholas;  Joy  to  the 
World;  In  Bethlehem  a  Babe  Is  Born;  It  Came  Upon  the  Midnight 
Clear;  0  Come,  All  Ye  Faithful;  0  Little  Town  of  Bethlehem;  0  Sauc- 
tissimai;  0  Verdant  Pine!;  Silent  Night!  Holy  Night!;  Up  on  the  Housc- 
Top;  The  Wassail  Song;  We're  Going  Home  for  Christmas;  We  Three 
Kings  of  Orient  Are;  What  Child  Is  This?;  While  Shepherds  Watched 
Their   Flocks. 


T. S.DErvjisoiNj  «S- COrviF»>:vrvj'v     PuhlishGt-s 


t/Dmsm's 

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IX  plays 


Merry  Christmas 

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By  Hablax  Tahbeli.     Discusses  the  princip 
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facial  expressions,  trick  pictures,  landscapes,  tu 
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Price,  Board  Binding,  ^1, 

C^fxnJ^^^li/YYLOUi  GnnrxjicUuL 

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Price,  Paper  Cover,  60  O 

By   Grace   Sorenson.      Sixteen   little   plays 
children  of  the  upper  grammar  grades,  on  to] 
intimately    related    to    everyday    life,    with    r 
flesh-and-blood   children  for  characters.     All 
easy  to  present. 

Price,  Board  Binding,  ^1 

By  Arthur  LeRoy  Kaser.    A  collection  of  n 
teen  bright  and  snappy   vaudeville  comedies 
two  players.     Excellent  also  for  olio  or  gem 
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6   16  6         1^        Y'*^^'  V»p6t  Cover,  60  G 


T.S.DeniiSOM  4S-ComrAny  Pi/A//s/?ei 

623  Socjl-h  Wat>as»-»  Ave.  CMIO*^C3» 


UNIVERSITY  OF  CALIFORNIA  AT  LOS  ANGELES 

THE  UNIVERSITY  LIBRARY 
This  book  is  DUE  on  the  last  date  stamped  "below 


WOV  9  ^  to/»,/f 

wov  2  7  me 

m  3    I94f 

NOV  7  mw 

DEC  3  1  l^B^ 

RECTD  CD-URC 

DEC  12 1988 

Form  L-9 
SOm-JS.'StX.iaSfl) 

UNIVERSITY  OF  CALIFORNIA-LOS  ANQELES 


L  007  771  981  3 


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